lliil^^ 


THE  GETTY  CENTER  LIBRARY 


THE 


CAMERA  AND  THE  PENCIL; 


HELIOGRAPHIC    ART, 

ITS  THEORY  AND  PRACTICE  IN  ALL  ITS  VARIOUS  BRANCHES; 
e.^.— DAGUERREOTYPY,  PHOTOGRAPHY,  &c.; 


TOGETHER    WITH    ITS 

HISTORY  IN  THE  UNITED  STATES  AND  IN  EUROPE; 

BEING    AT    ONCE    A 

THEORETICAL  AND  A  PRACTICAL  TREATISE, 

AND    DESIGNED    ALIKE,    AS    A 

TEXT-BOOK  AND  A  HAND-BOOK. 

Illustrated  iuitlj  |ine  6ugral)tngs 

ON    STEEL    AND    ON    WOOD. 


Bt   M.    A.    ROOT, 

PROFESSIONAL  HELIOGKAPHIC  ARTIST RECIPIENT  OF  EIGHTEEN  FIRST  PRIZES 

AWARDED  BY  INSTITUTIONS    IN    PHILADELPHIA,    NEW  YORK,  BOSTON, 
WASHINGTON,     HARRISBURG,     ETC.,     FOR     SUPERIOR 

ARTISTIC  PRODUCTIONS  IN  THE   ART.  0  NJ  ^ 

NH 

fHIabdpbiH:  \QCo^ 

M.  A.  ROOT,  808  CHESTNUT  ST.  {^"76 

J.  B.  LIPPINCOTT  &  CO.,  715  &  717  MARKET  ST. 

D.   APPLETON    &   CO.,   443   &  445    BROADWAY,   N.  Y. 

1864. 


Eiittved,  according  to  Act  of  Congress,  in  the  year  1864,  by 

MARCUS  A.  ROOT, 

In  the  Clerk's  Office  of  the  District  Court  of  the  United  States,  iu  and  for  tho  Eastern 
District  of  Pennsylvania. 


MEAKS  i  DUSENBERY,  STEREOTTPERS,  C.  A.  ALVORI),  PRINTER, 

PHILADEUnH.  NEW  YOKE. 


THE  RFTTV'  rcwTco 


CONTENTS. 


CHAPTEE  I. 

THE  FINE  ARTS — HELIOGRAPHY,  ETC, 

Our  country — High,  materially — Inferior,  artistically — Causes  of  this — Arts, 
the  development  of  innate  tendencies — Amusement  a  necessity — Art  supplies 
it — Elevates,  also,  morally  and  spiritually — Refines  intellectually  and  so- 
cially— Art  among  Greeks  and  Romans — America  probable  originator  of  new- 
type  of  art — Heliography,  how  distinguished  from  other  arts  .     .     .     19-25 

CHAPTER  II. 

USES  OF  THE  HELIOGRAPHIC  ART. 

Cherishes  domestic  and  social  sentiments — Inspires  to  virtuous  and  noble 
deeds — Education  greatly  the  work  of  men's  circumstances  and  conditions — 
Augments  greatly  their  knowledge  and  happiness — A  substitute  for  travel — 
Cultivates  artistic  taste  and  the  love  of  beauty — Tends  to  improve  other 
fine  arts  and  their  professors — Exemplifications  of  this  fact     .     .     .     26-31 

CHAPTER  III. 

QUALIFICATIONS   REQUISITE   TO  A  FIRST-CLASS  HELIOGRA- 

PHER. 

Heliographers,  mechanical  or  artistic — Former  lack  power  of  giving  expres- 
sion to  portrait — Latter  possess  it — Genius,  this  power — Gift  of  nature,  not 
fruit  of  education  or  effort — Ciimera  requires  not  less  genius  than  pencil — 
Heliographer,  like  painter,  must  arouse  in  sitter  his  best  mood — How — 
Chemistry,  natural  philosoph}',  &c.,  essential  to  heliographer — Heliography 
in  comparative   disrepute — Reasons   thereof — Motives,  that  should  inspire 

heliographer .32-42 

(iii) 


IV  CONTENTS. 


CHAPTER  IV. 

SUGGESTIONS   AS   TO    THE   FITTING    UP  OF   HELIOGEAPHIC 
EOOMS. 

Expression  essential  to  portrait — Infants  and  children  physiognomists — Aver- 
age and  intensified  expression  of  face — Proper  aims  of  artist — DiflBculties 
of  heliographer  and  painter  as  to  getting  expression — Both  must  act  on 
sitter — How — Heliographer,  in  part,  by  fitting  up  of  rooms — Enumeration 
of  items  in  fitting  up — All  influenced  by  surroundings 43-48 


CHAPTEE  V. 

THE  SUNBEAM. 

The  sun,  the  heliographer's  instrument — Apotheosized  by  pagans — Newton's 
theory  of  light — Young's  theory — Field's  theory — Light,  heat,  actinism — 
Light  a  compound  of  seven  colors,  according  to  Newton — Of  three  colors, 
according  to  Brewster,  <fcc. — Effect  of  light  on  health,  development,  &c. — 
Heat  and  its  incidents,  e.  g. :  absorption  by  atmosphere,  influence  on  cli- 
mate, latency,  &e. — Actinism  the  chemical  and  heliographic  element — 
Proximate  cause  of  vegetive  germination — Decomposes  and  alters  arrange- 
ment of  material  atoms — Electricity  in  Sunbeam — Sunbeam  weighed — 
Result 49-66 


CHAPTER  YI. 

HARMONY  OF  COLORS. 

Love  of  ornament  innate  and  universal — Constituents  of  visual  beauty,  form, 
and  color — Harmony  of  colors — Meaning  of  same — Knowledge  of  such  har- 
mony, practically  useful,  e.  g. :  in  dress,  embellishment,  &c. — Our  guides  in 
using  colors  for  costume,  what  ? — Climate  and  size,  figure,  complexion,  &c., 
of  person — Age,  social  position,  <fec.,  of  same — Also  time,  place,  occasion, 
ifce. — Best  portraits,  what? — Those,  which,  retaining  likeness,  conceal  defects 
and  blemishes,  and  enhance  charms  and  beauties — Exposition  of  effects  of 
various  colors  on  appearance — Harmony  of  analogy,  and  harmony  of  con- 
trast in  colors,  what? — Primary  and  secondary,  or  complemental  colors, 
what? — -Colors  emblematic  of  dispositions  and  character — Illustrations  from 
poets 67-83 


CONTENTS. 


CHAPTER  YII. 

THE    HUMAN   FACE — MIEKOR    OF   THE    SOUL,    AND   CHIEF 
SUBJECT  OF  ART. 

Face  most  perfect  medium  of  expression — "  Mosaics,"  by  Saunders — Face, 
index  of  soul — Views  of  Lavater,  Bacon,  Haller,  Browne,  and  Southey — 
Language  of  face  universal  and  changeless — Forehead,  nose,  and  chin  indi- 
cative of  original  character;  eyes  and  mouth  of  changeable  character — Eye 
extraordinarily  expressive — Why? — Lips  very  expressive — Varieties  of  same 
— Human  faces  most  interesting  of  sights — Applications  of  term  face  to 
things  inanimate — National  types  efface  and  head,  e.  g. :  Greek  and  Italian 
features  marking  certain  races — Examples  of  fact — Qualities  expressed  by 
various  colors,  <fec.,  of  eyes,  what  ? — Indications  by  different  forms  of  noses, 
what? — Anecdote  of  Napoleon — Cerebrum  and  cerebellum — Mental  qualities 
intimated  by  different  shapes  of  these       84-89 


CHAPTER  VIII. 

THE  HELIO  GRAPHIC  ARTIST  AND  HIS  SITTERS. 

The  operant  must  strive  to  please  all — Selfish  and  impatient  must  be  con- 
ciliated— Proper  management  of  their  case,  what? — Heliographic  sittings 
should  be  brief — Difi&culties  specified — Anecdote  of  Reynolds      .     .     90-95 

CHAPTER  IX. 

SITTING  ROOM — SKY-LIGHTS — OUT-DOOR  VIEWS,  ETC. 

Diffused  light  essential — Angle  for  falling  rays — Upper  story  best — Side  and 
sky-light — Size  and  arrangement  of  latter — Preparations  for  cloudy  weather 
— Curtains  and  their  disposition — Out-door  views  and  their  conditions — Best 
paintings,  &c.,  should  be  studied  by  heliograph ers — Examples — Miscellane- 
ous directions 96-]  04 

CHAPTER  X. 

HINTS  UPON  SITTING — EASE  AND  GRACE  IN  A  PORTRAIT. 

Attitude  of  sitter  should  be  chosen  by  the  operant,  what? — Management  of 
lights  and  shadows — Legs  of  gentlemen,  how  placed^Hands  of  ladies,  how 
placed — How  to  take  certain  faces — Directions  about  colors — Useless  acces- 
sories to  be  avoided — Mode  of  ameliorating  blemishes,  what? — Groups, 
&c 105-1  la 


VI  CONTENTS. 


CHAPTER  XI. 

THE   EYES — THEIE   LANGUAGE,  AND   HOW  TO    DEAL  WITH 

THEM. 

Eyes  especially  important  in  portrait — How  to  direct  and  depict  them — This 
determined  by  color  and  surroundings — Catch-lights,  what,  and  for  what 
purpose 113-116 

CHAPTEE  XII. 

SUGGESTIONS  AS   TO   DEALING  WITH  DEFECTS  AND   BLEM- 
ISHES IN  sitter's  face. 

How  to  manage  with  personal  defects,  e,  g  :  cross-eyes,  irregularities  of  feature, 
loss  of  teeth,  <Stc. — How,  also,  with  extra  shortness  or  tallness,  corpulence 
or  thinness,  imperfection  of  nose,  forehead,  skin,  &c. — Few  faces  of  perfect 
model 117-122 

CHAPTER  XIII. 

LIGHTS   AND   SHADOWS   IN   A   PICTURE — THEIR    USE    AND 

VALUE. 

Proper  management  of  lights  and  shadows,  important — How  natnre  uses  these 
in  landscapes — Artists  should  aim  at  following  her  method — Not  the  painter 
and  heliographer  merely,  but  the  architect  no  less — Remarks  of  Sir  Charles 
Bell       ; 123-126 

CHAPTER  XIY. 

COSTUME  IN  PORTRAITURE — HOW  DISPOSED, 

Costume  of  great  importance  in  portrait — Directions  for  its  arrangement — 
Disposition  of  hair  also  of  moment — Instructions  on  this  point  with  regard 
to  women  and  to  men — Facts  in  relation  to  this  subject,  gathered  from 
noting  the  insane — How  to  station  groups  for  taking,  Ac. — "Small  things," 
of  great  import — Stories  told  by  pictures,  how  ? — Examples      .     .     127-131 

CHAPTER  XY. 

THE  ATMOSPHERE — WEATHER — LIGHT  FLEECT  CLOUDS. 

Effect  of  changes  of  weather  on  chemical  coatings — Various  exemplifications — 
of  this  fact — Perplexity  of  a  certain  noted  artist — Friendly  hints  as  to  the 
dealing  of  operants  with  their  critics  and  advisers 132-136 


CONTENTS.  Vll 


CHAPTER  XVI. 

PEESONAL  CONSIDEEATIONS. 

Account  of  the  author's  early  training — His  pursuits  for  some  of  his  mature 
years — The  preparation  thus  made  for  his  after  success  in  heliography — 
Importance  of  drawing  and  sketching  to  all  artists  and  to  persons  of  all 
pursuits — Measures,  which  must  soon  be  adopted,  to  secure  custom  in  sun- 
painting    136-138 


CHAPTER  XVII. 

HELIOGRAPHY  AN  IMPROVEE  OF  AETS  AND  AETISTS. 
Predictions,  that  heliography  would  ruin  business  of  other  pictorial  artists — 
Proved  false  by  events — All  art-genius  more  encouraged  now,  than  ever 
before — Heliography  cultures  popular  taste  and  judgment— Portrait  and 
miniature  painters  improved  by  this  art — Seventy  thousand  heliographs 
produced  by  the  author — Means  for  advancing  the  art — Clearness,  more 
than  aught  else,  aimed  at  in  this  work 139-142 

CHAPTER  XVIII. 

EXPEESSION — THROUGH  THE  FACE. 

Expression  in  portrait,  essential — The  artist  an  imitator  of  the  creative  power 
— Genius  alone  can  detect  and  depict  expression — Simon  Magus — Genius 
improved,  not  acquired,  by  study — Painter's  advantage  over  heliographer  in 
detecting  expression,  from  having  many  sittings — Lawrence,  his  supposed 
mode  of  doing  this — Prometheus — Heliographer  must  act  at  once,  and  with 
numbers,  perhaps,  awaiting  their  "  turn" — None  should  essay  heliography, 
save  those  conscious  of  genius — If  not  thus  conscious,  they  should  seek  other 
vocations — Phaeton  and  his  fate,  what  may  be  symbolized  thereby — Historic 
and  ideal  portraits — Their  nature,  and  the  modes  of  their  creation — Ideal 
representations,  the  Virgin  Mother;  Washington,  Napoleon,  <tc,       143-152 


CHAPTER  XIX. 

EXPRESSION — THEOUGH  THE  FACE  AND  FIGUEE. 

The  whole  body,  its  attitudes,  movements,  &c.,  as  well  as  the  face,  vehicles 
of  expression — M.  Angelo,  RafFaelle,  Hogarth,  Lawrence,  and  Gilbert  Stuart, 
specially  famed  as  expressionists — Mode  of  calling  up  in  sitter  best  expres- 
sion— Anecdote  of  Clay,  and  the  taking  of  his  daguerreotype  in  1848 — Poor 
portraits  of  Clay,  Webster,  Ac,  especially  of  last — Sydney  Smith's  remark — 


Vlll  CONTENTS. 


Webster's  speeches  on  Boston  Common  and  Bunker  Hill  —  Lafayette  — 
Surviving  veterans  of  Bunker  Hill  battle — Sir  C.  Bell  on  anatomy  of  expres- 
sion— Sonnet  by  R.  T.  Conrad — Various  methods  of  rousing  expression — An 
actor — A  lady,  as  nun — Anecdote  of  Washington,  vfhile  sitting  to  Stuart — 
Interesting  facts  about  the  taking  of  Washington's  portrait,  by  Stuart  and 
Peale — Bishop  White — Postures  in  representing  statesmen  and  other  public 
speakers — Postures  in  representing  literary  persons — Irving,  Bryant,  Long- 
fellow, Dickens — Costume  and  accessories — Theory  of  "  spheres"  by  Sweden- 
borg — Effect  of  presence  of  various  classes  of  persons  on  others — Remarks 
of  a  venerable  artist 153-168 

CHAPTEE  XX. 

EXPRESSION — THROUGH     THE     ANIMAL    AND    INANIMATE 

WORLDS. 

Expression  pertaining  to  animal,  vegetive,  and  mineral  worlds,  e.  g. :  the  lion, 
what  ideas  expressed,  and  what  sort  of  man  typified  by  him — The  tiger, 
what  ideas  expressed — The  fox,  the  bull-dog,  the  snake,  what  ideas  expressed 
— inanimate  world  expressive — Macbeth,  witches,  blasted  heath,  &c. — Accord 
between  persons  and  scene — Crucifixion  of  Christ  and  accompanying  circum- 
stances— Milton's  description  of  earth's  perturbations  at  eating  of  fatal 
apple — Mountains  expressive — Examples  of  three,  typifying  three  different 
classes  of  men — Frigid  Zone;  Sahara  Desert,  what  human  beings  and  con- 
ditions symbolized  thereby — Swamps  and  fens,  what  they  represent — The 
face  of  earth,  as  a  whole,  symbolical  of  state  and  character  of  human  race. 

169-176 

CHAPTEE  XXI. 

EXPRESSION — THROUGH  ABNORMAL  MOODS  OF  BODY  AND 

MIND. 

Disease,  like  health,  subject  to  laws — Various  expressions  from  various  mala- 
dies— Sundry  examples — Instances  of  expression  of  abnormal  passions — 
Wisdom  of  this  ordination — The  actor  should  study  these — Important  for  all 
to  do  this       177-179 

CHAPTEE  XXII. 

MISCELLANEOUS  FACTS. 

Peculiarities  in  the  eyes  of  different  persons — Examples  of  two  kinds — Causes 
of  these  unknown — Subject  worth  investigating — Expression  through  names 
■ — Various  instances  among  savage  tribes — origin  and  use  of  names — Illustra- 
tions among  ancients  and  moderns — Heraldry  and  its  emblems  from  same 
origin 180-184 


CONTENTS.  ix 


CHAPTEE  XXIII. 

OPINIONS  OF  ARTISTS  AND  AET-CRITICS  UPON  BEAUTY. 

Their  views  of  beautj',  physical,  intellectual,  moral,  and  ideal — Examples  from 
Phidias,  Plato,  Cicero,  and  many  others,  among  the  ancients;  and  of  M. 
Angelo,  Raffaelle,  Reynolds,  Barry,  Opie,  Lawrence,  Haydon,  Cousin,  Rus- 
kin,  Jeffrey,  Alison,  Burke,  Michelet,  and  numbers  beside,  among  the 
moderns — Original  comments  on  the  same 185-206 

CHAPTEE  XXIY. 

ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS. 

Opinions  of  ancient  and  modern  writers  on  the  same — For  art-purposes,  sub- 
limity and  beauty  both  comprised  by  the  latter  term — Examples :  Grace 
Darling,  Florence  Nightingale,  Leonidas,  &e. — Remarks  of  Ruskin,  Cousin, 
Symonds — Observations  respecting  genius — Reynolds,  Fuseli,  Haydon — 
Imagination,  invention,  passion,  taste — Ruskin,  Burke — Drawing  or  design, 
Fuseli,  Barry  — Grace,  Aliston — Repose,  Ruskin,  Michelet — Composition, 
Ruskin,  Haydon — Color,  Opie,  Fuseli — Symmetry,  Symonds — Light  and 
shadow,  Quintilian,  Reynolds,  &e. — Expression,  Reynolds,  Du  Piles,  Law- 
rence, Curran,  Stuart,  Trumbull,  Inman,  Bell,  Aristides,  Timanthes,  Stot- 
bard,  &c. — Portrait,  Howard,  Northcote,  &c. — Sculpture,  Agesander,  Hay- 
don, Aliston,  &c 207-262 

CHAPTEE  XXV. 

MISCELLANEOUS  REMARKS  FROM  VARIOUS  AUTHORS. 
Sexes,  how  distinguished — Apelles,  Barry,  Opie,  Fuseli — Analysis  of  Lionardi 
Da  Vinci's  "Last  Supper" — Howard,    Ruskin,    Lawrence,    Burke,   Cuvier, 
Dryden,  Reynolds,  Mrs.  Siddons       253-263 

CHAPTEE  XXYI. 

ON  COLORING  PHOTOGRAPHS. 

Most  approved  styles  of  doing  this — Principles  of  harmonious  coloring — 
Painting  and  music  compared — Light,  source  of  color — Primaries,  second- 
aries or  complementals,  tertiaries,  &c.,  what? — Illustrative  engravings — 
Water  colors  enumerated  and  described — Photograph  prepared — Mounting 
for  coloring — Method  of  coloring — Hatching  and  stippling — Painting  head — 
Draperies — Backgrounds — Vignettes — Gelatinizing  positives — Mezzotints — 
Powder — Varnish — Enlargement — Coloring  in  crayons — Coloring  in  pastels 
— Coloring  in  oil — Portraiture — Concluding  remarks 264-302 


CONTENTS. 


CHAPTEE  XXVII. 

PORTEAITS — SEVERAL  VARIOUS  MODES  OF  PRODUCING  OR 
FINISHING  PERMANENT  SOLAR  IMPRESSIONS. 

The  Ivorytype,  a  picture  printed  through  a  negative  on  artificial  ivory,  intro- 
duced into  England  by  Mayall,  of  London.  Also  a  photograph,  colored  and 
sealed  upon  plate-glass,  called  the  "Ivorytype,"  introduced  into  the  United 
States  by  Wenderoth  in  1865. 

The  Alabastrine,  a  positive  upon  glass,  colored  on  the  back  of  the  film,  and 
finished,  by  Wharton  Simpson,  of  England. 

The  Diaphanotype,  a  good  photograph,  cemented  to  glass  and  painted  on  the 
back  in  oil  colors. 

The  Hallotype  and  its  variations,  are  pictures,  made  on  a  similar  principle  to 
the  above,  finished  in  either  water  or  oil  colors,  or  both,  on  back  and  front. 
The  two  last  named  are  said  to  be  mere  applications  of  Grecian  or  Oriental 
painting  to  photography. 

The  Melainotype,  a  positive  collodion  picture  made  upon  japanned  iron 
plates. 

The  Sphereotype,  simply  a  collodion  positive  on  glass,  with  certain  peculiari- 
ties in  the  method  of  making  and  mounting  the  picture. 

The  Crayon,  or  Spherical  Vignette  Daguerreotype,  a  picture  representing 
the  head  and  bust,  made  spherical  by  pressing  it  over  a  convex  glass  paper- 
weight, or  other  oval  surface,  and  cased  with  a  convex  glass  over  the  impres- 
sion. 

The  Hillotype. — Having  learned,  that  both  others  and  myself  were  misled  in 
regard  to  these  pictures,  I  thought  the  public  were  entitled  to  the  explana- 
tion given  on  page  316  of  this  chapter. 

The  Ectograph,  thus  named  from  the  mode  of  its  finishing;  patented  by  Wil- 
liam Campbell,  of  Jersey  City,  N.  J. 

The  Porcelain  Picture,  made  on  a  kind  of  porcelain  glass,  manufictured 
expressly  for  this  object.     Invented  by  J.  Wallace  Black,  of  Boston,  Mass. 

304-819 

CHAPTEE  XXVIII. 

THE  CAMERA  AND  THE  MICROSCOPE — OR  MICRO-PHOTO- 
GRAPHY. 

Microscope  at  first  undervalued — (Pope — Addison) — Ehrenberg's  discovery 
thereby,  1830 — Infusoria  at  Berlin,  Luneburg,  Virginia,  U.  S. — Tripoli 
powder,  infusoria — Microscopic  vegetables  as  abundant  as  animals — Ocean 
and  pond  scum,  organic  life,  viz.,  desmidise  and  diatomacese — Divine  ends 
subserved  by  infusoria — Calcareous  earth  eaten  in  South  America,  Guineii, 
Finland,  China,  &c.,  composed  of  organic  remains — Islands  formed  by  ani- 
malcules— Ocean  phosphorescence  by  same — Red  Sea  thus  colored — Lewen- 


CONTENTS.  .  XI 


hoeck — Codfish  milt — 17,000  divisions  in  butterfly's  eye — In  one  pound 
cochineal  70,000  insects — Divine  purpose  in  animalcular  creation — Serve  as 
scavengers — Prevent  diminution  of  earth's  present  matter —  Services  of 
microscope  in  commerce — Jurisprudence,  sciences,  arts,  &c. — Life-saving 
application  of  microscope  in  France,  &e. — Connection  'of  microscope  with 
heliography 320-336 


CHAPTEE  XXIX. 

HISTOEY  OF  THE  HELIOGEAPHIC  AET  IN  THE  UNITED  STATES. 

Camera  obscura — Professor  Draper's  early  researches — Used  bromine  and 
sensitive  paper  —  Made  the  first  sun-portrait  —  Professor  Morse's  early 
experiments  and  their  success — A.  S.  Wolcott  and  J.  Johnson — their  dis- 
coveries and  performances — Dr.  Bird — Joseph  Saxton,  first  daguerreotype  in 
Philadelphia — Drs.  Goddard  and  Parker — Professors  J.  Frazer  and  W.  R. 
Johnson — Messrs.  Mason  and  Cornelius — Professors  Grant  and  Davis — Drs. 
Wildman  and  J.  E.  Parker — Mr.  Reed — Mr.  F.  Langenheim,  his  services 
to  the  art — First  brought  talbotype  and  stereoscope  to  United  States — 
Van  Loan,  Anthony,  Edwards,  N.  G.  Burgess,  Charles  AVilliamson,  Fizeau, 
Cady,  Gurney,  Brady,  Quail,  Haas,  and  Lawrence,  in  New  York  City — South- 
worth  &  Hawes,  Whipple  &  Co.,  and  French,  in  Boston — Thompson,  Schriver, 
Mayall,  and  M.  A.  Root,  in  Philadelphia — Last  named  bought  Mayall's  stand, 
140  Chestnut  St.,  Philadelphia,  1846 — Beckers — Faris,  in  Cincinnati,  Ohio — 
Hesler,  in  Ulinois— Fitzgibbons,  in  Missouri — Crystal  Palace,  New  York  City 
— Shives — Howard — Sun-painters  in  United  States  —  Decline  of  daguerreo- 
type— MeClees  &  Germon,  crystallotype — Collodion  process,  1852 — Drs. 
Charles  Cresson  and  G.  Langdell — Cutting — I.  Rehn's  Photolithography, 
Ac 373-392 


CHAPTEE  XXX. 

HISTORY  OF  THE  HELIOGEAPHIC  AET  IN  EUEOPE. 

Rapid  progress  of  the  art — Its  many  branches — Camera  obscura  discovered 
two  hundred  years  ago — Crystallizing  of  various  salts  by  light,  in  eighteenth 
century — Investigations  of  these  subjects  in  that  century — Wedgwood  and 
Davy  first  tried  to  fix  images  by  light  in  1800-3 — Unsuccessful — Hyposul- 
phite soda  discovered  by  Herschel,  Sir  J.,  1819 — Niepce,  Daguerre,  and 
Talbot  first  fixed  images  in  Europe — Daguerre's  wife  and  Dr.  Dumas — 
Variations  of  the  talbotype  (calotype)  by  various  persons — Waxed-paper 
process — Glass  plates  for  pictures  suggested  by  Herschel — Albumen,  gelatine, 
Ac,  used  for  coating  such — Collodion  now  preferred  to  all  other  coatings — 
Variations   and   improvements    by  practical   photographers    and    amateurs 

393-411 


Xll  CONTENTS. 


CHAPTER  XXXI. 

THE  HELIOGEAPHIC  AET — ITS  PEESENT  STATE  AND  APPLI- 
ANCES, AND  ITS  FUTUEE  POSSIBILITIES. 

The  three  great  modern  discoveries :  1st.  Steam — 2d.  Magnetic  Telegraph — 
.3d.  Heliography — All  tend  to  produce  an  improved  human  condition — 
Heliography,  its  direct  effects  :  1st.  A  substitute  for  travel — 2d.  Strengthens 
and  perpetuates  ties  of  kindred  and  friendship — 3d.  Makes  familiar  to  us 
the  great  and  good  of  all  ages  and  countries — 4th.  Serves  as  an  eflBcient 
means  of  general  culture — 6th.  Is  an  important  help  to  the  knowledge  and 
practice  of  chemistry,  geology,  medical  and  surgical  science,  architecture, 
engineering,  military  operations,  astronomy,  &c. — Its  claims  to  be  a  fine 
art  now  advocated  by  journals,  both  photographic  and  other — Sir  D.  Brewster 
and  Claudet  favor  this  view — Why  should  not  the  painter  and  photographer 
work  together;  one  with  camera,  and  the  other  with  pencil? — Quotations 
from  eminent  modern  writers,  specifying  the  benefits  conferred  on  mankind 
by  art  in  general,  and  the  photographic  art  in  particular       .     .     .     411-431 

CHAPTER  XXXII. 

HELIOG-EAPHY — ITS  AETISTIC  CHAEACTEE  AND  EELATIONS. 

Wrong  opinions  of  heliography  almost  universal — Now  changing  for  tho 
better — Heliographer  should  study  as  largely  as  the  painter — Artistic  studies 
specially  needed  by  him — Bodies,  how  existing  in  nature? — Elements  of 
picture,  what? — Photography  and  painting,  in  what  alike  ? — Former  derives 
nothing  from  color — Latter  much — Differences  between  the  two,  what  ? — 
Expression  constitutes  portrait — Examples — Dress,  its  influence — Color  and 
position  important — Size  of  portrait,  how  determined  ? — Sketches,  descriptive 
and  historic — Difficulty  of  getting  best  expression — Distribution  of  light,  of 
importance — Great  difficulties  in  representing  groups — Conditions  requisite 

432-449 


INTEOLUCTION. 


The  appearance  of  this  work  may,  naturally,  suggest  the  inquiry, 
why  the  author  should  have  assumed  the  care  and  labor,  as  "well  as 
the  responsibility,  of  getting  up  and  submitting  to  the  public  a 
Treatise  on  Heliography,  when  so  many  on  the  same  subject  are 
already  in  circulation, — some  among  which  are  of  sterling  value, 
and  produced  by  writers  of  profound  science  and  great  practical 
accomplishment.  It  might  fairly  be  exacted  of  one  who  would 
swell  the  number  of  these  books,  that  he  should  either  present  some- 
thing new,  or  should  bring  forward,  in  better  shape,  topics  which 
had  already  been  discussed.  That  in  both  these  respects  there  was 
room  for  improvement,  I  have  myself  been  long  convinced,  as,  I 
trust,  my  reader  will  be  by  the  examination  of  these  volumes. 

My  reasons  for  undertaking  this  work  were  founded,  in  part,  on 
what  seemed  to  me  deficiencies  in  the  treatises  now  in  vogue,  and 
partly  on  other  grounds  to  be  presently  noticed.  The  principal  of 
these  reasons  are  the  following : — 

1.  It  is  a  frequent  complaint,  among  American  Heliographers, 
that  the  books  on  their  art  are  mostly  written  in  a  style  too  learned  and 
technical,  and  therefore  ill-suited  to  popular  use.  Their  complaint 
appears  to  us  not  entirely  groundless.  Nearly  all  these  books  were 
penned  by  scientific  men,  who  had  cultivated  the  art  simply  as 
amateurs,  and  who,  therefore,  employed  the  same  style  as  though 
dealing  with  ordinary  themes  of  science.  They  wrote,  as  if  address- 
ing persons  of  their  own  class, — not  reflecting,  perhaps,  that  those 
by  whom  these  books  are  chiefly  required,  rarely  possess  profound 
scientific  attainments. 

Professional  Heliographers  of  that  eminence,  which  alone  would 
impart  sterling  value  to  a  treatise  from  their  hands,  are,  mostly,  too 

(xiii) 


XIV  INTRODUCTION". 


busily  occupied  for  thus  using  the  pen,  even  if  possessing  sufficient 
skill  in  composition  to  qualify  them  for  producing  a  book.  So  that 
we  have  not  hitherto  (to  my  knowledge)  had  a  single  heliographic 
treatise  from  a  first-class  professionist.  I  thought,  therefore,  that  a 
book  from  a  practical  artist  would  be  likely  to  meet  the  want  thus 
generally  expressed.  Such  a  work  I  was  especially  impelled  to 
undertake,  as  well  as  encouraged  to  carry  forward  to  its  completion, 
by  the  fact,  that  I  was  able  to  secure,  through  its  whole  progress, 
the  most  valuable  assistance  of  a  number  of  gentlemen  of  ability, 
of  scholarship,  and  of  long-practised  aptitude  in  writing. 

2.  Several  years'  personal  experience  had  impressed  me  with 
what  I  thought  important  deficiencies  in  every  work  on  this  subject 
within  my  knowledge.  The  mechanical  and  chemical  appliances 
of  the  art  were,  indeed,  not  unfrequently  treated  with  satisfactory 
fulness  and  skill ;  yet  what  may  be  termed  its  artistic  requirements 
were  scarcely  touched  upon :  e.  g.  posture  and  costume,  light  and 
shadow,  expression  in  its  various  modes,  and  numerous  other  minute 
yet  important  particulars,  relating  to  the  management  of  the  sitting 
department,  were  by  every  writer  almost  totally  ignored.  And  yet 
on  a  thorough  acquaintance  with  these  particulars,  coupled  with 
aptitude  and  tact  in  dealing  with  them,  it  mainly  depends  whether 
a  picture  shall  be  a  veritable  gem  of  art,  or  a  baldly  mechanical 
performance.  The  major  part  of  my  remarks  on  these  points  will  be 
found  in  that  portion  of  Volume  I.,  commencing  with  the  "  Sitting 
Room,"  and  extending  through  the  four  chapters  on  "  Expression," 
including  pages  96-179. 

The  reader  might  scarce  credit  me,  were  I  to  tell  him  of  how  much 
vigilant  observation  and  laborious  thought  these  few  pages  were  the 
fruit.  Day  after  day,  and  week  after  week,  through  several  succes- 
sive years,  I  kept  careful  watch,  jotting  down  diurnally  the  results 
of  my  scrutiny,  and  testing  them  again  and  again,  till,  at  last,  I 
trust  I  have  succeeded  in  presenting  them  in  a  shape  so  simple  and 
lucid  that  to  read  will  be  to  understand. 

3.  I  have  mentioned,  elsewhere  in  this  book,  my  early  propensity 
for  drawing  and  sketching,  and  my  after  employment,  for  several 
years,  in  a  kindred  profession.  My  assumption  of  heliography  was 
a  partial  fulfilment  of  my  juvenile  prepossessions.  In  its  adoption 
I  carried  with  me  my  young  aspirations  for  artistic  distinction, 
together  with  the  natural  desire,  that  my  vocation  should  stand,  in 
general  estimation,  on  the  high  platform  I  thought  it  deserved. 

I  soon  learned  that  it  did  not  so  stand.     Sun-painting,  I  was 


INTKODUCTION.  XV 


mortified  to  find,  was  considered  a  merely  mechanical  process,  which 
might  be  learned  in  a  few  weeks,  by  a  person  of  the  most  ordinary 
capacity  and  attainment. 

Now,  as  might  have  been  anticipated  from  my  early  biases,  /  put 
a  very  different  estimate  upon  the  art.  I  regarded  it  as  decidedly 
one  of  the  Fine  Arts;  nor  this  alone,  but  as  standing  high  among  these 
arts.  My  thoughts  on  this  point  will  be  found  expressed  in  more 
than  one  place  in  this  work.  I  felt,  almost  as  if  a  personal  affront 
to  myself,  the  low  repute  in  which  the  art  and  its  practitioners  were 
held.  And  this  feeling  was  aggravated  by  the  fact,  not  to  be  denied, 
that,  owing  to  causes  detailed  otherwhere,  there  was,  unhappily,  too 
much  ground  for  the  common  opinion  respecting  the  profession.  Its 
operants,  with  not  very  numerous  exceptions,  bore  a  reputation 
similar  to  that  of  those  itinerant  portrait-painters,  who  anticipate 
the  death  of  their  victims,  by  destroying  every  trait  of  life-likeness 
in  the  faces  they  execute. 

As  already  remarked,  my  ambition  forbade  my  patiently  being 
ranked  among  recognised  imbQdiles  and  incapables.  Why  (1  queried 
with  myself)  should  not  Heliography  be  placed  beside  Painting  and 
Sculpture,  and  the  Camera  be  held  in  like  honor  with  the  Pencil  and 
the  Chisel?  Is  that  (methought)  alow  and  vulgar  art,  which  can  bid 
defiance  to  time  and  space,  and  triumphantly  look  into  the  eye  of  the 
so-named  '*  King  of  Terrors ;"  which  grants  me,  at  my  own  fireside, 
to  behold  the  rocky  heights  once  trodden  by  prophets  and  apostles, 
and,  more  inspiring  still,  by  Him  who  was  the  "  brightness  of  the 
Father's  glory,"  "  the  chiefest  among  ten  thousand  and  altogether 
lovely ;"  to  gaze  on  the  immemorial  pyramids  and  catacombs  of 
Egypt,  and  the  mystic  caverns  of  Ipsamboul  and  Ellora  ? — which,  in  a 
word,  enables  me,  without  crossing  my  threshold,  to  view  the  multi- 
tudinous populations  of  the  total  globe,  past  and  present,  with  the 
monuments  of  beauty  and  grandeur,  that  immortalized  their  earth- 
existence  ?  Finally,  should  that  art  be  contemned,  which  is  helping 
to  train  society,  from  its  topmost  to  its  nethermost  stratum,  to  an 
appreciation  of  the  beautiful?  For,  be  it  noted,  the  specimens, 
inferior  as  so  many  of  them  are,  exhibited  at  the  doors  of  the  Helio- 
graphic  Galleries,  in  numbers  of  our  city  streets,  constitute  a  sort  of 
artistic  school  for  developing  the  idealistic  capabilities  of  the  masses 
that  daily  traverse  those  streets. 

An  art,  then,  which  contributes  so  much,  and  in  so  many  modes, 
towards  elevating  and  refining  all  classes  of  the  community,  seemed 
to  me  to  possess  high  claims  to  consideration.     I  trust,  that  the  time 


XVI  INTRODUCTION. 


and  care  and  labor,  unsparingly  devoted  to  this  book,  have  made  it, 
in  some  fair  degree,  worthy  of  its  subject. 

It  will  be  seen,  that  in  several  of  the  opening  chapters  (e.  g.  The 
Sunbeam  and  The  Harmony  of  Colors,  Chapters  5  and  6),  I  have 
dwelt  at  some  length  on  the  sciences  that  constitute  the  basis  of 
heliography.  The  general  object,  as  well  as  the  propriety  of  so  doing, 
must  be  patent  to  all,  and  needs  no  explaining.  An  incidental 
purpose  was  to  intimate  the  high  dignity  of  an  art  resting  on  founda- 
tions so  august. 

It  will  also  be  noted,  that  I  have  spoken  in  considerable  detail  (Chap- 
ter 5)  of  the  high  attributes,  both  intellectual  and  moral,  essential  to 
a  first-class  heliographer.  To  represent,  in  their  just  proportions,  the 
beautiful  and  the  sublime  in  natural  scenery ;  to  reproduce  in  like 
manner  the  creations  of  inspired  human  genius ;  and  especially  to 
delineate  the  human  face  and  figure  pervaded  by  an  expression,  that 
bids  the  soul  shine  glowingly  out  through  the  same ;  are  to  transcribe 
the  matchless  pencillings  of  the  Divine  Proto-Artist.  To  do  this, 
how  imperfectly  soever,  demands  qualities,  alike  of  head  and  of  heart, 
in  rapt  accordance  with  the  Infinite  Creative  Spirit. 

In  fine,  the  true  heliographer,  like  the  true  artist  in  whatever 
sphere,  should  be  an  intermedium,  through  which  the  light  of  the 
Divine  should  pass  unmodified  and  pure,  producing  imprints  as 
distinctly  and  delicately  limned,  as  are  the  images  of  natural  objects 
on  the  surface  of  a  crystal  pool.  How,  then,  we  once  again  ask,  can 
that  art  be  ignoble  and  mean,  which  involves  requisites  and  appli- 
ances so  high,  so  important,  and  so  numerous,  as  these? 

The  scientific  foundations  of  the  art  and  the  qualifications  of  the 
artist  having  been  stated,  the  book  proceeds  to  discuss  the  particu- 
lars, that  constitute  or  are  incidentally  related  to  the  producing 
process.  I  must  restrict  myself  to  a  mere  enumeration  of  the 
remaining  chapters,  with  their  subjects  annexed. 

Chapter  7.  The  face,  the  chief  subject  of  art,  as  being  the  soul's 
mirror ;  Chapter  8.  On  the  proper  bearing  of  the  operant  towards 
his  sitters ;  Chapter  9.  The  sitting-room,  its  location,  appurten- 
ances, &c. ;  Chapter  10.  On  sitting,  with  its  incidents ;  Chapter  11. 
The  eyes,  their  language,  &c. ;  Chapter  12.  How  to  deal  with  defects 
and  blemishes  in  the  face ;  Chapter  13.  Lights  and  shadows  in  the 
picture ;  Chapter  14.  Costume,  &c. ;  Chapter  15.  The  atmosphere, 
&c. ;  Chapter  16.  Personal  considerations  ;  Chapter  17.  Heliography 
an  improver  of  the  arts  and  sciences ;  Chapters  18,  19,  20,  21.  Ex- 
pression, through  various  mediums ;  Chapter  22.  Miscellaneous  facts  ; 


INTRODUCTION.  XVII 


Chapter  23.  Opinions  of  artists  and  art-critics  on  beauty ;  Chapter 
24.  Art,  its  incidents  and  belongings;  Chapter  25.  Miscellaneous 
remarks  ;  Chapter  26.  Coloring  photographs ;  Chapter  27.  Portraits, 
&c. ;  Chapter  28.  Camera  and  Microscope  ;  Chapter  29.  History  of 
heliography  in  the  United  States ;  Chapter  30.  History  of  same  in 
Europe ;  Chapter  31.  Present  and  future  of  heliography ;  Chapter 
32.  Character  and  relations  of  same. 

In  addition  to  the  above  subjects,  the  "  Fine  Arts  in  general ;"  the 
"  Uses  of  Heliography ;"  and  the  "  Fitting  up  of  Heliographic 
Rooms,"  are  discussed  at  length  in  the  early  portion  of  the  book. 

From  the  foregoing  enumeration  it  will  be  seen,  that  in  both  the 
plan  ajid  the  contents  of  this  work,  it  differs  largely  from  all  other 
Heliographic  Treatises  in  circulation.  I  think,  that  the  matter 
constituting  such  difference  will  be  found,  to  say  the  least,  of  not 
inferior  interest  to  the  residue  of  the  work.  I  trust,  moreover,  that 
the  general  reader  may  draw  from  it  not  a  little  of  both  instruction 
and  entertainment,  while,  to  the  professional  heliographer,  it  may  be 
a  manual  of  sterling  value. 

My  intention,  on  commencing  the  book,  was  to  issue  it  in  one 
volume,  and  a  few  circulars  were  given  to  the  public  expressing  this 
intention.  But,  from  the  urgent  advice  of  several  scientific  gentle- 
men and  amateurs  of  distinction,  having  decided  to  enlarge  and 
make  it  more  complete,  by  inserting  considerable  new  matter  of 
interest  and  importance,  my  manuscript  became  so  bulky,  that  it  was 
deemed  expedient  to  put  it  in  two  volumes  instead  of  one, — the  first 
embracing  the  theoretic  basis  of  the  art,  and  the  second  its  practical 
processes,  formulas,  &c.  Still,  for  all  desiring  it,  the  two  volumes 
will  be  bound  in  one. 

On  some  subjects  the  reader  will  find  not  a  little  repetition.  One 
reason  for  this  is,  that  I  was  specially  anxious  to  impress  these 
subjects  on  all  within  my  reach  ;  and  another,  that  the  book  having 
been  seven  or  eight  years  in  hand,  it  was  impossible  to  carry  the 
whole  in  my  mind,  so  as  to  avoid  occasional  reiteration.  The  first 
volume  is  illustrated  by  several  fine  steel  engravings  of  distin- 
guished men,  some  of  whom  have  taken  a  deep  interest  in  our  art. 
The  second  is  fully  illustrated  by  engravings  representing  the 
instruments  and  appliances  of  the  art. 

In   the  cotemporary  Heliographic  Journals  both  of  the   United 

States  and  of  Europe,  several  topics  may  be  found  often  and  earnestly 

discussed,  which,  eight  years  ago,  were  scarce  ever  alluded  to.     One 

of  these  is  the  claim  of  Heliography  to  be  one  of  the  Fine  Arts, 

2 


XVlll  INTRODUCTION. 


instead  of  a  simply  mechanical  process ;  and,  as  such,  requiring 
genius  and  accomplishment  for  achieving  distinction  therein,  no 
less  than  Painting  and  Sculpture.  A  second  is,  that  expression  is  a 
sine  qua  non  in  our  art ;  and  that  extreme  care  and  much  skill  in 
handling  its  accessories,  e.  g.  arrangement,  position,  &c.,  are  essen- 
tial to  excellence  therein.  In  this  work,  these  subjects  are  often  and 
earnestly  pressed  on  the  attention, — and,  in  simplest  justice  to  my- 
self, I  may  remark,  that  the  paragraphs  treating  of  the  same  were 
written  years  before  I  had  seen  anything  of  the  sort  in  print. 

In  the  New  York  Photographic  Journals,  numerous  articles  on  the 
same  subjects  have  been  furnished  by  me  during  the  last  ten  succes- 
sive years.  These,  with  what  appears  in  this  book,  constitute  all  I 
have  seen  of  this  character,  till  within  a  short  time  past,  when  they 
have  begun  to  be  discussed  in  both  American  and  European  Helio- 
graphic  Journals  and  Books. 

It  may  also  be  noted,  that  in  speaking  of  our  art  in  general,  and  of 
its  agents  and  results,  I  commonly  use  the  terms  heliography,  helio- 
grapher,  and  heliograph,  in  place  of  photography,  &c.  My  reason  is, 
that  Heliography,  "  Sun-sketching,"  is  a  correct  general  name  for  the  art 
in  all  its  varieties;  while  Photography,  "Light-sketching,"  with  all 
its  derivatives,  is  a  misnomer,  since  it  is  not  light,  but  actinism,  which 
is  the  producer.  "  Heliochart,"  "  Sun-paper,"  is  the  proper  title  of 
what  is  now  called  a  photograph.  It  is  not  to  be  hoped  (I  presume) 
that  this  error  will  ever  be  amended  in  the  popular  speech,  any 
more  than  that  the  right  name  "  Breed's  Hill,"  will  ever  be  substi- 
tuted for  "  Bunker  Hill,"  in  the  account  of  the  battle  involved.  The 
following  are  the  words  of  the  eminent  heliographic  author,  T.  F. 
Hardwich,  page  83  of  his  sixth  edition:  "  The  actinic  and  luminous 
spectra  are  totally  distinct  from  each  other,  and  the  word  '  Photogra- 
phy,' which  signifies  '  taking  pictures  by  ligM,'  is  in  reality  inaccu- 
rate." 

Delamotte,  in  the  introduction  to  his  manual,  remarks  as  follows : 
"As  light  is  not  the  agent,  through  which  the  efi'ects  are  produced, 
the  word  Heliography,  '  Sun-drawing,'  has  been  suggested  as  the 
more  correct." 

What  remains  to  be  said,  of  an  introductory  character,  is  reserved 
for  the  opening  of  the  second  volume.  I  would  only  observe,  in 
closing,  that  by  the  profession,  and  by  amateurs  and  others  inter- 
ested in  the  art,  several  of  whom  are  named  in  the  introduction  to 
Volume  II.,  I  have  been  graciously  assisted,  in  the  way  of  informa- 
tion, as  well  as  by  all  other  means  in  their  power,  for  which  I  would 
here  express  my  sineerest  acknowledgments. 


HELIOGRAPHY 


OTHEE  PINE  ARTS. 


CHAPTER  I. 

THE  FINE  ARTS — HELIOGRAPHY,  ETC. 

Our  country — High  materially — Inferior  artistically — Causes  of  this — Fine 
Arts,  the  development  of  innate  tendencies — Amusement  a  necessity — Art 
supplies  it — Elevates  morally  and  spiritually — Refines  intellectually  and 
socially — Art  among  Greeks  and  Romans — America  probahle  originator  of 
new  type  of  art — Heliography — How  distinguished  from  other  arts. 

Holding,  as  I  do,  tliat  Heliograpliy  is  entitled  to 
rank  witli  tlie  so-named  Fine  Arts,  some  remarks  upon 
these  arts,  as  a  class,  tlieir  basis  in  nature,  and  their 
various  uses,  may  properly  constitute  the  opening  chap- 
ter of  this  volume. 

That  in  material  prosperity  and  mechanical  utilities 
our  country  stands  high,  very  high,  in  the  scale  of  na- 
tions, there  can  be  no  doubt  whatever.  As  little  doubt 
can  there  be  that  in  artistic  culture  many  a  cotemporary 
people  are  our  superiors. 

This,  however,  may  be  admitted  without  humiliation. 
Pioneers  and  tamers  of  a  primitive  world,  as  we  have 
been  hitherto,  we  have  had  neither  leisure  nor  means 

(19) 


20  THE  CAMERA  AND  THE  PENCIL. 

for  largely  cultivating  the  mere  embellishments  of  life. 
But  with  our  present  material  attainments,  it  is  quite 
time  that  the  energy  and  inventive  ability,  which  have 
accomplished  so  much  here,  should  be  turned  towards 
the  fine  arts.  And  as  vague,  erroneous  notions  prevail 
as  to  the  real  nature  of  these  arts,  it  may  be  well  to 
state  some  reasons  for  their  cultivation. 

And,  first,  I  would  remark  that,  irrespective  of  all 
special  uses  of  the  arts,  their  cultivation  may  be  urged 
on  the  simple  ground  that  they  answer  to  one  of  our 
natural  wants,  being  the  pre-ordained  development  of 
that  law  of  beauty  and  harmony,  whose  germs  are  im- 
planted in  every  soul.  Thus,  in  even  the  most  savage 
tribes  yet  discovered,  some  rude  essays  at  embellishment 
are  found.  Not  one  of  them  is  content  with  what  are 
termed  the  indispensables  of  life  ;  but  among  their  most 
prized  possessions  are  feathers  and  a  thousand  various 
trinkets,  which  they  regard  as  making  attractive  them- 
selves and  their  belongings. 

It  is  similar  with  children,  whether  in  the  savage  oi 
civilized  state.  Trinkets  and  toys,  and  all  things  bright 
and  showy,  however  rude,  are  among  their  earliest  tastes. 
And  I  suspect  that  the  fondness  for  tales  in  all  kinds, 
common, to  both  child  and  savage,  is  another  manifesta- 
tion of  the  same  radical  principle. 

Such  being  the  fact,  we  can  press  the  cultivation  of 
the  fine  arts  on  the  ground  that  such  is  the  will  of  God. 
Since  most  of  his  gifts  are  bestowed  in  the  germ,  the 
mere  fact  of  his  conferring  certain  capacities  should  be 
evidence  enough  of  our  obligation  to  labor  for  their 
development.  But  artistic  culture  has  many  specific 
uses. 

Thus  the  arts  open  to  their  amateurs  inexhaustible 
sources  of  enjoyment.     It  were  superfluous  arguing  that 


THE  FINE  ARTS — HELIOGRAPHY,  ETC.  21 


men  must  needs  have  relaxation  and  amusement.  Labor, 
the  common  lot,  has  not  yet  been  made  in  itself  pleasura- 
ble and  attractive;  generally  wearisome,  often  positively 
repulsive,  it  would  be  insupportable  but  for  seasons  of 
relaxation. 

If,  then,  mankind  must  and  will  have  pleasure,  what 
shall  this  be  ?  Few  questions  are  more  momentous.  For 
where  there  is  no  mental  culture,  sensuality  is  the  main 
resource,  and  fatal  excess  its  too  frequent  accompani- 
ment. And  even  where  excess  is  avoided,  sensual  indul- 
gence, unchastened  by  the  activity  of  the  higher  powers, 
is  of  debasing  tendency. 

But  let  the  love  of  manifold  beauty  be  developed,  and 
how  vast  man's  resources  for  enjoyment !  Painting, 
sculpture,  and  architecture,  music,  poetry,  and  universal 
letters  offer  springs  of  pleasurable  emotion,  which,  while 
ever  new  and  fresh,  are  absolutely  fathomless.  Pure 
delights  they  are,  too,  harming  neither  him  who  tastes 
nor  those  connected  with  him. 

And  still  better,  these  enjoyments  are  morally  and 
spiritually  elevating  in  tendency.  JSTot  that  in  point  of 
fact  all  artists  and  amateurs  reproduce,  in  their  senti- 
ments and  life,  the  harmony  and.  beauty  of  art.  But  this 
is  not  the  fault  of  art  itself.  It  does  but  show  that  the 
artistic  element  is  not  in  them  strong  enough  to  hold  in 
check  other  passions  of  a  debasing  kind  and  accomplish 
its  own  specific  ends.  In  other  phrase,  though  a  veri- 
table angel  of  blessing,  it  is  not  omnipotent. 

How,  indeed,  can  it  do  else  than  purify  and  exalt,  since 
it  brings  the  mind  into  sympathy  with  one  of  the  most 
conspicuous  of  the  divine  attributes  ? 

For,  if  wise  design  and  benignant  use  be  everywhere 
visible  in  creation,  not  less  universal  and  perceptible  are 
the  forms  and  hues  of  beauty.     How  prodigally,  indeed 


22  THE  CAMERA  AND  THE  PENCIL. 


is  that  beauty  poured  out  over  earth  and  sky  !  And  not 
alone,  either,  where  man  may  take  cognisance  of  it.  In 
the  very  heart  of  sylvan  wilds,  where  human  foot  never 
trod,  countless  flower-tribes,  lovely  and  fragrant  enough 
for  a  seraph's  wreath,  bloom  and  perish,  it  might  seem, 
in  vain.  Why,  too,  was  the  interior  of  the  muscle's 
shell  painted  with  the  rainbow's  matchless  hues,  only  to 
lie  on  the  dark  bed  of  Ocean,  "a.  thousand  fathoms 
down"  ?  "What  numeration  could  reckon  the  kindred 
instances  where,  on  birds,  fishes,  and  insects,  are  lavished 
beauties  of  shape  and  tint  beyond  the  reach  of  man's  art, 
and  yet  with  no  discernible  end  to  be  subserved  thereby? 
Is  it,  then,  presumption  to  suppose  that  such  beauty 
exists  because  its  Author  delights  in  its  creation?  "Why 
may  we  not  believe  that  all  this  grace  and  loveliness 
are  not 

"born  to  blush  unseen, 
And  waste  their  sweetness  on  the  desert  air," 

but  that  their  Creator  enjoys  the  contemplation  of  these 
exquisite  works  of  his  hands  ? 

The  artist,  therefore,  who  by  pencil  or  chisel,  by  pen 
or  voice,  brings  before  us  shapes  of  beauty  or  grandeur ; 
what  does  he  but  co-operate  with  the  great  Proto- Artist, 
and  in  his  humble  measure  participate  in  His  work  of 
Creation?  And  he  who,  through  culture,  has  become 
susceptible  to  the  charms  of  multiform  art,  must,  through 
the  same  susceptibility,  love  and  enjoy  also  the  divine 
manifestations  of  grandeur  and  loveliness.  And  the 
artist  and  amateur,  who  dwell  thus  delightedly  on  the 
derivative  beauty  incarnate  in  effects,  are  more  likely 
than  others  to  venerate  and  love  the  great  Original  Cause 
of  beauty — the  Being,  who  is  himself  the  absolute,  essen- 
tial Beauty  and  "Wisdom,  Life  and  Love ! 

We  plead,  then,  for  the  cultivation  of  art,  both  as  a 


THE  FIXE  ARTS — HELIOGRAPHY,  ETC.  23 


means  of  recreation  and  refresliment  to  a  toiling  race, 
and  not  less  for  its  genial  and  elevating  influence  on  the 
character. 

It  is  nniversally  admitted,  that  the  fine  arts  communi- 
cate to  the  mind  that  refinement,  and  to  the  life  those 
accomplishments  and  graces,  without  which  the  one  is 
incomplete  and  rude,  and  the  other  bald  and  bare.  Of 
course  men  must  first  provide  life's  absolute  essentials ; 
nor  will  I  object  to  their  procuring,  as  a  second  step,  its 
material  conveniences  and  comforts.  But  I  insist,  that 
the  very  next  stage,  in  a  true  development,  is  to  secure 
that  intellectual  culture,  of  which  the  fine  arts  constitute 
a  large  share — embracing,  perhaps,  all  not  covered  by 
the  term  science.  Without  this,  we  must  be  little  higher 
or  other  than  animals. 

But  through  the  portals  of  art  we  enter  a  vastly  higher 
and  nobler  than  the  animal  sphere :  one  in  which  the 
Divinity  is  our  prototype  and  exemplar,  and  unseen 
angels  our  sympathizing  and  helpful  associates.  It  is 
the  domain  of  the  beautiful ;  boundless,  exhaustless,  and 
infinitely  various,  like  its  Author  and  Supervisor.  Thence- 
forward man,  both  the  individual  and  social,  has  before 
him  an  illimitable  work,  fully  worthy  his  most  strenuous 
endeavors.  This  work  is  to  shape  and  array  his  total 
life  into  harmony  with  the  laws  of  beauty.  Such  work 
demands,  that,  commencing  with  what  is  most  individual, 
we  conform  our  feelings  and  thoughts,  our  speech  and 
port,  our  movements  and  costume,  to  the  standard  pre- 
scribed by  those  laws;  that,  still  farther,  we  fashion, 
according  to  this  standard,  our  domestic  and  public  struc- 
tures with  their  furniture  and  equipments ;  our  imple- 
ments to  whatever  use  applied;  and  finally,  whatever 
we  touch  and  hear  and  look  upon  at  home  and  abroad, 
so  far  as  within  our  control.     Life's  ideal  requires,  that 


24  THE  CAMEEA  AND  THE  PENCIL. 

every  human  being,  whether  in  his  hours  of  labor  or 
recreative  leisure,  should  be  encompassed  by  sights  and 
sounds  incarnating  the  most  advanced  existing  concep- 
tions of  loveliness,  grandeur,  and  nobleness,  that  so  his 
nature's  best  elements  may  be  kept  alive  and  active, 
while  enjoying  the  conditions  of  further  expansion  and 
growth. 

To  some  extent  this  idea  was  actually  embodied  in 
life  by  the  ancient  Greeks  and  Eomans.  They  made 
beauty  and  magnificence  almost 

"As  broad,  as  general,  as  the  casing  air," 

in  many  spheres,  which  in  these  modern  days  exhibit 
little  save  ugliness  and  meanness. 

We  cannot,  however,  doubt  that  we  are  destined  to 
higher  achievements  even  than  theirs.  It  will  assuredly 
be  so,  if  that  American  energy,  so  prolific  of  prodigies 
in  the  domain  of  utility,  shall  fling  its  total  self  into  the 
culture  of  art.  And  would  we  rid  ourselves  of  that  ser- 
vile propensity  to  imitation,  implanted  in  us  by  our  con- 
stant intercourse  with  old  Europe,  and  act  fully  out  the 
originality  springing  from  our  novel  conditions,  in  this 
respect,  as  we  have  done  in  so  many  others,  I  doubt  not, 
that  a  new  and  magnificent  type  of  universal  art  would 
be  ushered  into  the  world.  The  copyist — as  the  Ameri- 
can has  too  generally  been — can  never  equal  his  model, 
since  he  works  not  with  the  freshness  and  surging  enthu- 
siasm of  a  primal  impulse.  To  be  alike  true  and  great, 
American  art  must  be  America's  spirit  and  life,  with  all 
their  individualities,  idealized  and  encircled  with  the 
magic  halo  of  beauty  ! 

Our  opening  chapter  has,  thus  far,  been  occupied  with 
remarks  upon  art  in  general,  and  upon  the  principles 
that  underlie  and  modify  whichever  of  its  specific  forms 


THE  FINE  ARTS — HELIOGRAPHY,  ETC.  25 

it  may  assume.  As  tlie  particular  subject  of  this  Trea- 
tise is  Heliograpliy,  a  few  words  respecting  it  will  not  be 
amiss  in  closing. 

In  the  course  of  the  present  volume,  I  have  repeatedly 
and  earnestly  advocated  the  proposition,  that  sun-paint- 
ing is  not  (as  but  too  commonly  supposed)  a  mere  me- 
chanical process  ;  but,  contrariwise,  is  one  of  the  fine  arts, 
and  in  its  capabilities  is,  at  least,  the  full  equal  of  the 
others  bearing  this  name. 

We  may  go  still  further.  In  the  variety  and  extent 
of  its  possible  applications,  both  usefal  and  ornamental, 
Heliography  promises  to  go  even  beyond  its  sister  arts. 
From  the  extreme  celerity  with  which  these  pictures 
may  be  taken,  their  numbers  can  be  indefinitely  multi- 
plied; while  their  cheapness  brings  them  within  reach 
of  all  classes  save  absolute  paupers.  By  consequence, 
in  the  humblest  of  cabins,  not  less  than  in  the  most  sump- 
tuous of  palaces,  they  will  be  in  future  among  the  most 
frequent  spectacles. 

As  the  next  chapter  will  be  devoted  to  an  enumera- 
tion of  the  utilities  of  heliography,  I  have  contented 
myself  here  with  briefly  touching  upon  two  or  three 
points,  wherein  this  differs  greatly  from  the  other  fine 
arts — such  difference  being  decidedly  in  its  favor.  To 
that  expository  chapter  I  would  ask  the  reader's  atten- 
tion. 


CHAPTEB  II. 

USES  OF  THE  HELIOGRAPHIO  ART. 

Cherishes  domestic  and  social  sentiments — Inspires  to  virtuous  and  nobla 
deeds — Education  largely  the  work  of  circumstances  and  conditions  of  men 
— Augments  greatly  men's  knowledge  and  happiness — A  substitute  for  tra- 
vel— Cultivates  artistic  taste  and  love  of  beauty — Tends  to  improve  other 
fine  arts  and  their  professors — Exemplifications  of  this. 

Though  heliograpliy  is  but  a  new-discovered  art, 
and  is,  of  course,  far  from  having  reached  perfection,  it 
has  already  conferred  various  and  important  benefits  on 
society.  These  benefits  must  be  augmented,  as  the  art 
progresses.     Let  me  specify  some  of  these. 

1st.  In  the  order  of  nature,  families  are  dispersed,  by 
death  or  other  causes ;  friends  are  severed ;  and  the  "  old 
familiar  faces"  are  no  longer  seen  in  our  daily  haunts. 
By  heliography,  our  loved  ones,  dead  or  distant ;  our 
friends  and  acquaintances,  however  far  removed,  are 
retained  within  daily  and  hourly  vision.  To  what  extent 
domestic  and  social  affections  and  sentiments  are  con- 
served and  perpetuated  by  these  "  shadows"  of  the  loved 
and  valued  originals,  every  one  may  judge.  The  cheap- 
ness of  these  pictures  brings  them  within  reach,  substan- 
tially, of  all. 

In  this  competitions  and  selfish  world  of  ours,  what- 
ever tends  to  vivify  and  strengthen  the  social  feelings 
should  be  hailed  as  a  benediction.  With  these  literal 
transcripts  of  features  and  forms,  once  dear  to  us,  ever 
at  hand,  we  are  scarcely  more  likely  to  forget,  or  grow 


USES  OF  THE  HELIOGEAPHIC  ART.  27 

cold  to  tlieir  originals,  than  we  should  be  in  their  cor- 
poreal presence.  How  can  we  exaggerate  the  value  of 
an  art  which  produces  effects  like  these  ? 

2d.  But  not  alone  our  near  and  dear  are  thus  kept 
with  us ;  the  great  and  the  good,  the  heroes,  saints,  and 
sages  of  all  lands  and  all  eras  are,  by  these  life-like 
"presentments,"  brought  within  the  constant  purview 
of  the  young,  the  middle-aged,  and  the  old.  The  pure, 
the  high,  the  noble  traits  beaming  from  these  faces  and 
forms, — who  shall  measure  the  greatness  of  their  effect 
on  the  impressionable  minds  of  those  who  catch  sight 
of  them  at  every  turn?  Who  can  behold  the  "mimic" 
"Washington  of  Stuart  or  Peale,  without  recalling,  for  an 
instant  at  least,  who  and  what  was  the  orisfinal  once 
enshrined  in  that  majestic  face  and  j&gure?  And  the 
representation  of  the  "Divine  Man  of  Nazareth," — not, 
of  course,  a  transcript  from  actual  life,  but  the  picture 
whereby  an  artist  of  supreme  genius,  in  his  most  rapt 
devotional  moods,  made  visible  his  conception  of  what 
must  have  been  the  aspect  of  One  thus  endowed  and 
inspired, — could  any  individual  look  upon  it  daily,  and 
not  experience  that  a  "virtue  had  gone  out  of  it,"  and 
had  done  somewhat  towards  moulding  his  own  disposi- 
tions and  character? 

Indeed,  our  education  is  accomplished  far  more  by  the 
circumstances  amid  which  we  live,  than  by  all  the  direct, 
technical  instruction  we  receive ;  and  from  infancy  to 
old  age  we  are  continually  acted  upon  for  good  and  for 
evil  by  the  sights  and  sounds  with  which  we  are  familiar. 
And  he  who  beholding,  on  every  side  within  his  dwelling, 
spectacles  of  the  class  above  named,  derives  from  them 
no  elevating  moral  influence,  must  be  made  of  almost 
hopelessly  impenetrable  stuff'.  But  taking  a  still  wider 
view,  consider 


28  THE  CAMERA  AND  THE  PENCIL. 

3d.  "What  this  art  is  doing,  and  is  still  more  largely 
to  do  hereafter  for  increasing,  the  knowledge  and  happi- 
ness of  the  masses.  What,  heretofore,  the  traveller 
alone  could  witness  (and  travelling  was  out  of  the  reach 
of  ninet v-nine  hundredths  of  mankind),  even  the  humblest 
may  now  behold,  substantially,  without  crossing  his  own 
threshold.  The  natural  scenery,  grand,  beautiful,  or 
picturesque,  of  every  quarter  of  the  globe ;  the  noblest 
edifices,  secular  and  religious,  of  the  most  highly  civilized 
lands ;  together  with  the  weird,  fantastic  piles,  reared 
by  semi-barbaric  peoples  to  their  ''strange  gods;"  the 
multitudinous  reliques  still  remaining  of  the  skill  and 
the  power,  the  pomps  and  the  glories  of  the  most  cele- 
brated regions  of  the  ancient  world;  the  localities,  on 
either  continent,  where  conflicts  have  been  waged,  or 
events  have  occurred,  which  have  acted  powerfully  on 
the  destinies  of  nations,  and  perhaps  have  turned  the 
currents  of  the  world's  history  into  new  channels ;  the 
inhabitants  of  every  zone,  from  the  Arctic  to  the  An- 
tarctic Circle,  with  their  costumes  and  their  exterior  ways 
of  life ;  the  finest  existing  specimens  of  art,  ancient  and 
modern,  of  foreign  countries  or  our  own ;  the  most  exci- 
ting, impressive,  and  awful  acts  or  scenes  which  may 
occur  anywhere  at  any  moment — a  thunder-storm,  a 
tempest  at  sea,  a  great  battle,  in  the  very  heat  and  fury 
of  its  crisis, — all  these,  and  whatever  else  of  interest  the 
world  may  present  to  the  sight,  caught,  as  they  may  be, 
with  absolute  exactitude,  by  the  infallible  pencil  of  the 
san,  are  now  brought  within  reach  of  all,  even  the 
lowliest  of  the  community. 

But  while  the  masses  are  thus  supplied  with  abundant 
and  infinitely  various  stores  of  knowledge  and  entertain- 
ment, they  are,  at  the  same  time,  receiving  no  small 
measure  of  artistic  training.    Of  course,  in  the  multitudes 


USES  OF  THE  HELIOGEAPHIG  ART.  29 

of  heliographs  sent  abroad  into  the  world,  there  are  very 
many  various  degrees  of  excellence  in  execution  and 
finish,  and  the  observer  of  different  specimens  is  naturally 
moved  to  compare  one  with  another,  and  to  form  his 
own  judgment  of  which  are  the  superior  and  which  the 
inferior.  By  this  simple  process,  carried  on,  perhaps, 
for  the  most  part,  unconsciously  or  but  semi-consciously, 
the  community  is  being  trained  to  a  taste  for  art  and  a 
love  of  the  beautiful.  Thus  sun-painting  promises  to  do 
for  the  moderns,  what  art,  in  other  forms,  did  for  the 
ancient  Greeks.  And  who  can  even  imagine  what  would 
be  the  purifying  and  elevating  effects  of  a  relish  and 
enjoyment  of  beauty,  both  in  nature  and  art,  universally 
diffused, — especially  when  combined,  as  it  is  among  the 
moderns,  with  the  influence  flowing  from  the  precepts 
and  the  life  of  the  "  Grood,  Master"  ?     But 

4th.  Heliography,  we  believe,  is  destined  to  do  much 
for  the  improvement  of  the  other  fine  arts  and  their 
professors.  To  the  portraitist,  for  example,  a  good 
heliograph  furnishes  important  aid  in  transferring  a  face 
and  form  to  the  canvass  or  ivory.  By  its  means  he 
is  able  to  get  a  more  exact  outline  of  his  sitter,  besides 
being  helped  to  catch  his  brightest  and  best  expression. 
For  obtaining  such  outline,  as  also  the  drapery  and  all 
other  accessories,  the  sitter  need  not  be  subjected  to  the 
long,  wearisome  sessions  formerly  required,  as  these  may 
be  taken  directly  from  the  heliograph.  And  then  a  few 
brief  sittings,  devoted  exclusively  to  studying  the  sub- 
ject's type  of  mind  and  character,  and  thus  settling  the 
fittest  mode  of  expressing  the  same  in  the  countenance, 
will  fully  suf6.ce, — especially  if  the  heliographer  has  been 
fully  successful  in  calling  up  and  representing  the  sitter's 
best  expression  at  the  outset.  In  a  word,  this  use  of  the 
heliograph  is  a  mode  of  economizing  both  time  and  force, 


30  THE  CAMERA  AND  THE  PENCIL. 

leaving  to  tlie  painter  more  of  both  for  producing  tlie 
highest  effects  of  his  art. 

The  landscape-painter,  the  sculptor,  and  the  architect, 
as  well  as  all  others,  whose  aim  is  visible  representation, 
may  in  like  manner  derive  essential  help  from  copies  of 
cheir  originals. 

But  especially  is  heliography,  with  the  late  discovered 
devices  for  instantaneous  tailing,  calculated  to  benefit 
other  artists,  by  supplying  them  with  most  interesting 
"studies."  For  example,  the  clouds,  seen  occasionally 
to  rise  aloft  like  dark  craggy  mountains  leaning  against 
higher  and  lighter-tinted  ones,  above  which  appear  still 
others,  darker,  grander,  and  more  irregular  in  outline, 
and  tipped  with  light, — the  whole  having  a  dark  blue 
sky  for  a  background, — all  can  be  accurately  and  instantly 
pictured  by  the  solar  pencil. 

So  the  high-rolling  and  high-capped  billows  of  a  storm- 
lashed  sea,  as  they  follow  each  other,  dashing  furiously 
against  or  curling  triumphantly  over  the  overtaken  ship 
or  the  immovable  rock,  may  be  stamped  upon  the 
plate  exactly  as  the  eye  beholds  them,  and  almost  as 
rapidly  as  the  eye  can  take  them  in. 

Again,  waterfalls ;  choice  bits  of  landscape ;  large 
moving  masses  of  people  assembled  on  occasions  of 
festival  or  public  celebration ;  and  all  kindred  spectacles, 
may  be  reproduced  in  the  same  way. 

And  thus,  taken  on  a  small  scale,  they  can,  by 
methods  recently  devised,  be  enlarged  to  a  magnitude 
of  many  feet  square,  without  losing  their  original  exacti- 
tude of  truthfulness. 

Such  pieces,  to  an  artist  in  colors,  must  be  invaluable 
as  "studies"  of  nature;  while  the  imaginative  artist,  by 
idealizing  them,  may  win  an  enviable  reputation. 

It  will  readily  be  seen  how  iiseful  the  art,  with  its 


USES  OF  THE  HELIOGEAPHIC  ART.  31 


present  facilities,  must  be  for  illustrating  books,  periodi- 
cals, &c., — supplying  tbem  with  reliable  sketches  of 
macbinery,  of  architecture,  of  scenes  of  disaster  or  of 
jubilee,  of  portraits ;  and,  in  short,  of  whatever  is  suited 
to  interest  or  instruct  the  public. 

It  seems,  too,  that  the  French  savans  are  applying 
heliography  to  physical  astronomy  and  the  mathe- 
matical measurement  of  the  heavenly  bodies.  Several 
valuable  pictures  of  this  class  have  already  been  taken, 
and  the  art  promises  to  render  important  services  in  this 
direction. 

I  need  pursue  these  remarks  no  further  here,  as  the 
multiform  utilities  of  the  art  will  be  found  clearly  and 
fully  explained  in  the  following  chapters  of  this  work. 


CHAPTER  III. 

QUALIFICATIONS    EEQUISITE    TO    A    FIEST- CLASS    HELIO- 
GRAPHEE. 

Heliographers  mechanical  or  artistic — Former  lack  power  of  giving  expression 
to  portrait — Latter  have  it — Genius  this  power — G-ift  of  nature,  not  fruit  of 
effort — Camera  requires  not  less  genius  than  pencil — Heliograph er,  like 
painter,  must  rouse  in  sitter  his  hest  mood — How — Chemistry,  natural  phi- 
losophy, &c.,  essential  to  heliographers — Heliography  in  disrepute — Reasons 
— Motives  which  should  inspire  heliographer. 

In  the  heliograpMc,  as  in  otlier  arts,  are  found  two 
classes  of  persons — the  artists,  and  the  mere  mechanics. 
In  all  respects,  save  two  or  three,  the  latter  may  equal, 
if  not  even  surpass,  the  former.  For  the  solar  pencil 
will  transcribe,  with  rigorous  exactness,  the  original 
submitted  to  it,  alike  in  either  case ;  while  in  the  pre- 
paring of  the  impressible  surfaces,  and  other  processes 
chemical  or  manual,  the  dexterous-handed  mechanic  may 
transcend  the  artist.  But  when  we  come  to  the  expres- 
sion— that  something  which  reveals  the  soul  of  the  sitter, 
the  individuality  which  differences  him  from  all  beings 
else — we  find  an  antagonism  between  the  two  classes,  as 
decided  as  between  a  living  man  and  the  wooden  image 
of  a  man.  As  the  mechanic  can  but  put  together  dead 
materials,  his  work  mast  needs  be  lifeless.  The  artist, 
on  the  contrary,  creates,  and  into  his  work  he  "  breathes 
the  breath  of  life,"  and  it  "becomes  a  living  soul."  Mrs. 
Fanny  Kemble,  once  contemplating  a  portrait  by  one  of 

our  famed  artists,  remarked,  "Mr. paints  a  beauti 

(32) 


QUALIFICATIONS  EEQUISITE.  83 

ful  picture,  but  it  required  Lawrence  to  piit  tlie  soul  in 
the  eyes !"  A  complete  verification  of  wliat  is  said 
above. 

Whetlier  the  pencil  or  the  camera  be  employed,  tbis 
distinction  equally  holds.  I  believe  the  time  is  not 
distant,  when  the  perfect  handling  of  the  latter  will  be 
acknowledged  to  be  not  less  difficult  than  that  of  the 
former.  And  indifferent  as  the  past  repute  of  heliogra- 
phy  has  been,  and  dishonored  as  it  has  too  often  been 
by  ignoramuses  and  charlatans,  I  believe  it  will,  ere 
long,  be  regarded  as  a  sphere  wherein  the  most  eminent 
of  artistic  geniuses,  a  Michael  Angelo  and  a  Eaffaelle,  a 
Titian,  a  Eubens,  a  Eembrandt,  and  a  Stuart  might  find 
amplest  scope  for  their  powers. 

But  what  are  the  special  qualifications  which  go  ta 
make  a  first-class  heliographer  ?  Substantially  the  same 
(I  think)  with  those  required  for  an  eminent  painter. 
Not  that  the  two  operate  in  the  same  way.  Both,  how- 
ever, aim  at  the  same  object,  and  unless  they  attain  it, 
their  attempts  must  be  total  failures.  That  object  is  the 
expression  of  the  soul  through  the  face,  or  the  face  and 
form. 

Now  even  to  discern  what  is  that  cast  or  character  of 
the  individual  soul,  which  discriminates  it  from  all  other 
souls,  requires  genius — a  quality  known  by  its  results, 
though  perhaps  impossible  to  define — and  requires  it  as 
much  in  the  heliographer  as  in  the  painter.  Neither  a 
mechanical  painter  nor  a  mechanical  heliographer  can 
perceive  it.  True,  the  former  with  his  brush  may 
represent,  with  precision,  the  face  and  form,  and  the 
latter  can  do  the  same,  through  the  camera.  But  as 
neither  has,  by  nature,  the  eye  to  detect  the  soul-expres- 
sion, so  neither  can  represent  it.  We  repeat,  then,  that 
3 


34  THE  CAMERA  AND  THE  PENCIL. 

the  first-class  heliograpTier  must  possess  the  same  art- 
genius,  as  the  painter  of  kindred  rank. 

But  after  seeing  the  expression  to  be  represented,  the 
next  step  is  to  represent  it  by  some  means.  The  painter 
does  this  through  color,  light  aT'd  shade,  &c.,  put  upon 
canvas.  The  heliographer  uses  the  camera,  in  lieu  of 
the  pencil,  and  by  various  dispositions  of  light  and 
shadow,  must  accomplish  (if  at  all)  the  purpose  effected 
by  the  painter  with  his  pencil.  Something,  indeed,  the 
heliographer,  after  using  the  camera,  may  do  by  means 
of  colors,  to  improve  and  heighten  the  expression  first 
obtained  by  the  solar  pencil.  Bat  unless  this  expression 
is,  substantially,  gotten  at  the  outset,  this  subsequent 
employment  of  color  will  be  of  no  avail. 

But  prior  to  the  handling  of  either  the  pencil  or  the 
camera,  a  preliminary  work  must  be  done  both  by  the 
painter  and  the  heliographer ;  and  to  the  execution  of 
this  work  genius  is  indispensable.  The  sitter,  before  a 
transcript  of  him  is  taken,  should  be  put  into  a  mood, 
which  shall  make  his  face  diaphanous  with  the  expression 
of  his  highest  and  best,  i.  e.  his  genuine,  essential  self. 
He  is  not  always  in  this  mood  at  the  commencement  of 
his  sitting  to  the  painter  or  the  heliographer ;  and  his 
face  may  be  of  that  rough,  coarse  mould,  which,  in  the 
absence  of  emotional  excitation,  would  give  no  adequate 
manifestation  of  the  in-dwelling  soul.  So  was  it  with 
Curran,  who  (as  related  in  Chapter  24)  sat  to  Lawrence 
six  times  before  the  painter  could  detect  the  real  Curran 
by  the  soul-irradiation  of  his  face.  But  how  came  this 
soul-irradiation  there  at  last?  It  seems  that  Lawrence, 
as  his  usage  was,  had  plied  Curran  with  the  various 
resources  of  his  marvellous  conversation,  till,  finally,  he 
struck  upon  that  chord  of  "  Erin  ma  vourneen,  Erin  go 
bragh,"  to  which  the  orator's  highest  nature  responded 


II 


QUALIFICATIONS  EEQUISITE.  35 


And  then  fhe  expression  required  shone  out  from  within, 
and  touched  up  that  gross,  rugged  mask  with  an  empyreal 
grandeur  and  beauty. 

In  like  manner  the  heliographer's  subject  often  shows 
little  of  what  he  essentially  is  at  the  moment  of  sitting — • 
the  more  especially  as  the  very  conditions  of  a  heliogra- 
phic  sitting  are  apt  to  produce  a  dull,  meaningless  look, 
from  the  fact  that  the  sitter  must  be  'perfectly  immovable 
during  the  action  of  the  camera.  The  operant,  there- 
fore, should  tax  all  his  intellectual  resources,  both  before 
and  during  the  session,  to  summon  into  activity  in  his 
sitter  those  elements  which  shall  stamp  on  the  face  the 
distinguishing  soul.  Conversation  is  the  principal  form 
in  which  those  resources  are  employed,  though  much  is 
also  done  by  the  magnetism  of  his  manners  and  presence. 
If  successful  in  calling  into  the  face  the  expression 
desired,  it  remains  to  tax  all  the  powers  of  the  camera 
in  producing  such  a  combination  of  lights  and  shadows 
as  will  secure  an  exact  transfer  of  this  expression  to  the 
plate.  To  use  the  camera,  as  it  m.ay  be  used,  is  possible 
only  to  genius,  united  with  thorough  knowledge  and 
high  accomplishment. 

Indeed  the  public  at  large  has  little  idea  of  what 
marvels  of  achievement  this  instrument  is  capable  in  the 
hands  of  genius;  and  the  same  might  be  said  of  the 
great  majority  of  heliographers.  Some  suggestions  on 
this  topic  may  be  found  in  the  chapters  of  this  volume 
relating  to  "Sitting,  the  Sitting-Room,"  and  kindred 
matters.  It  will  there  be  seen  that  this  instrument,  by  a 
delicately  skilful  handling,  may  do  for  the  face  and 
figure,  so  far  as  concerns  outline,  light  and  shadow,  &c., 
nearly  every  essential  service  which  the  pencil,  with  its 
manifold  appliances,  can  do  in  the  hand  of  a  painter  of 
genius. 


36  THE  CAMEEA  AND  THE  PENCIL. 

Be  it  noted,  moreover,  ttat  heliography  is  based  upon 
chemistry  and  natural  pTiilosopliy ;  and  tlie  heliograplier 
who  would  master  all  departments  of  his  profession 
must  be  versed  to  a  considerable  extent  in  both  these 
branches  of  knowledge.  But  to  deal  familiarly  with 
sciences  as  boundless  as  the  world,  or  rather  all  worlds ; 
to  be  able  to  pierce  through  the  ofttimes  thick  mask  of 
the  material  outward  and  discern  the  inner,  spiritual  self ; 
and  then  to  represent  that  self  by  such  a  delicate  man- 
agement of  a  single  implement,  as  shall  cast  peculiarly- 
tempered  lights  and  shadows  upon  the  face  and  form, 
adapted  by  an  almost  inspired  selection  of  attitude,  with 
its  accessories,  to  receive  them  aright ; — are  performances 
like  these  within  the  capacity  of  a  dull,  slow,  ignorant 
operator  ?  Or  do  they  not  rather  (as  already  intimated), 
demand  both  genius  and  talent, — genius  and  talent,  too, 
thoroughly  instructed  and  disciplined  by  prolonged,  care- 
ful study,  observation,  and  experiment?  For  a  first- 
class  heliographer  all  these  qualities  and  acquirements 
are,  in  my  view,  essential. 

Thus  far  I  have  spoken  of  intellectual  qualifications 
exclusively.  But  to  a  heliographer,  who  would  be  both 
eminent  in  fact  and  successful  with  the  public,  certain 
moral  qualities  are  hardly,  if  at  all,  less  requisite. 

And  first,  speaking  generally,  no  man  can  work  to  the 
best  advantage,  unless  the  mental  and  moral,  the  think- 
ing and  emotional  elements  of  his  being  are  in  proxi- 
mate accordance  or  equilibrium.  To  work  with  the 
head  without  the  heart  were  itself  ominous  for  his  suc- 
cess ;  but  to  work  with  the  heart  in  bitter  opposition  to 
the  head  were  far  worse.  He  who  should  attempt  to  run 
a  race  in  fetters,  or  to  breast  a  torrent  with  half  the  body 
paralyzed,  were  more  likely  to  succeed  than  one  at  odds 
with  himself. 


QUALIFICATIOlSrS  EEQUISITE.  37 

As  matter  of  history,  I  believe  it  will  be  found,  with 
few  exceptions,  if  any,  that  the  great  immortals  in  art 
have  been  characterized  by  moral  properties  mainly  cor- 
responding to,  if  not  perfectly  matching,  their  intellect- 
ual. Michael  Angelo  and  Raffaelle,  Correggio  and 
Leonardo  da  Yinci,  may  be  named  as  examples  among 
the  moderns  across  the  water ;  while  Washington  All- 
ston,  Gilbert  Stuart,  Eembrandt  Peale,  and  Henry  Inman 
show  alike  favorably  on  this.  If  there  are  exceptions 
of  any  considerable  moment  to  this  rule,  I  cannot  now 
recall  them.  Indeed  how  could  a  corrupt,  debased  crea- 
ture detect  in  his  subject  the  expression  of  goodness — 
not  to  say,  how  represent  such  goodness  on  canvas  or  in 
stone  ?  It  stands  among  the  moral  axioms,  that  no  man 
can  discern  or  understand  in  another  a  quality  of  which 
he  has  not  in  himself  the  germs, — and  these  germs,  too, 
somewhat  developed. 

That  the  heliographer,  like  other  artists,  should  pos- 
sess a  genial  and  measurably  harmonic  nature  is  essential, 
both  because  man,  being  dual-natured,  cannot  achieve 
his  highest  and  best  unless  the  two  elements  of  his  being 
work  accordantly  together ;  and  because  without  good- 
ness in  himself,  he  cannot  perceive  and  depict  goodness 
in  others ;  while  it  is  a  generally  recognised  principle 
that  a  picture  devoid  of  this  element  cannot  be  a  chef 
d'oeuvre  in  art. 

But  coming  down  from  this  general  view,  there  are 
certain  specific  moral  qualities  which  may  be  seen  at 
first  glance  to  be  exceedingly  important  to  the  helio- 
grapher. 

1st.  Amenity,  cordiality,  grace,  and  ease  of  manners — • 
in  one  word,  politeness — are  well-deserving  the  most 
assiduous  cultivation  by  him.  In  truth,  politeness  may, 
for  its   multiform   good   effects,   almost   be   catalogued 


38  THE  CAMERA  AND  THE  PENCIL. 


among  the  positive  virtues.  An  exterior,  prickly  and 
toucli-wounding,  may  despoil  the  rarest  qualities  of  the 
major  portion  of  their  proper  influence.  Conversely, 
a  gracious,  winning  demeanor  has  such  potency  that  it 
often  gives  social  currency  to  one  whose  delinquencies 
would  otherwise  "send  him  to  Coventry."  What 
stronger  incentive  than  this  for  sterling  worth  to  put  on 
a  seemly  garb ! 

2d.  Genial,  habitual  good-nature,  so-named,  is  ano- 
ther important  requisite  to  a  heliographer.  A  bright, 
sunshiny  face  is  a  positive  benefaction  to  all  beholders. 
It  enhances  the  sitter's  cheerfulness,  if  already  in  good 
spirits,  and  dispels  his  gloom  if  in  the  opposite  mood. 
Whereas  a  sour,  sullen  face  in  the  operant  may  neu- 
tralize the  rarest  skill  by  freezing  the  very  emotions  that 
should  impart  to  the  sitter  the  expression  wished.  It 
were  wiser  for  one  of  this  saturnine,  surly  temper  to 

"Affect  this  virtue,  if  he  have  it  not." 

Best  have  it  in  very  fact ;  for,  though  nature  withheld  it, 
assiduous,  prolonged  endeavor  will  attain  a  considerable 
measure  of  it. 

3d.  The  would-be  eminent  heliographer  must  espe- 
cially have  patience,  as  few  places  more  urgently  require 
it  than  his  operating  room.  For,  from  the  nature  of  his 
art,  a  single  day  may  bring  under  his  hand  a  host  of 
persons,  comprising  almost  every  type  of  organization ; 
the  ignorant  and  stolid,  the  flippant  and  conceited,  the 
fastidious,  the  difficult,  &c.  To  deal  with  all  these,  even 
so  as  to  avoid  giving  mortal  offence,  often  taxes  his 
patience  to  an  extent  that  might  make  him  almost  envy 
even  the  patriarch  Job  himself. 

Let  him,  however,,  beware  of  yielding  to  impatience 
or  irritation  even  with  such  as  these ;  for  they  constitute 


QUALIFICATIONS  EEQUISITE.  39 

perhaps  the  majority  of  those,  by  whom  he  must  (if  at 
all)  win  his  bread,  as  well  as  his  professional  distinction. 
To  the  multiform  annoyances  from  these  sources  let  him 
oppose  simply  a  genial,  invincible  patience,  which  will 
be  to  him  like  a  water-proof  overcoat  in  a  sleety  storm, 
keeping  him  substantially  dry  and  warm. 

Thus  far  in  the  present  chapter  I  have  spoken  of  the 
heliographer  in  his  individual  relation  to  his  art,  and  to 
the  public  who  furnish  subjects  for  his  art.  Before 
closing  it  I  would  say  something  of  the  heliographic 
body  at  large,  and  of  certain  matters  that  vitally  con- 
cern it. 

I  suppose  it  will  not  be  denied,  that  in  days  past  the 
estimation  generally  put  upon  our  profession  and  its 
practitioners,  has  been  a  humiliating  one ;  and  that  the 
art  itself  has  shared  in  the  humiliation  of  its  professors. 
Why  was  this  so  ? 

Among  many  different  reasons  may  be  mentioned, 

1st.  The  fact  that,  to  a  degree  unparalleled  among 
other  professions  and  callings  within  my  knowledge,  the 
practitioners  of  this  have  been  chargeable  with  bickerings 
and  clashes ;  with  covert  attacks  and  contumelious  insi- 
nuations of  one  against  another ;  while  they  have  rarely 
recognised  each  other's  professional  deserts  and  rightful 
standing. 

2d.  That,  among  several  thousands  of  heliographic 
practitioners  in  our  country,  there  are  very  few  genuine 
artists  ;  and  the  number  of  sun-paintings  is  scanty,  which 
win  approval  from  those  competent  to  judge  of  their 
merits.  And  most  heliographs  being  what  they  are,  i.  e. 
poor,  even  to  paltriness,  it  is  commercially  right,  that 
they  should  be  vended  at  rates  so  ludicrously  cheap, 
that  the  vender  himself,  if  sane,  can  hardly  feel  other 
than  contempt  for  his  work. 


4:0  THE  CAMERA.  AND  THE  PENCIL. 

3d.  That,  "unlike  other  artists  and  even  artisans,  helio 
graphers  have  not  formed  associations  for  advancing 
their  art  and  securing  their  own  reciprocal  benefit,  but 
have  maintained  a  selfish  isolation,  or,  worse  still,  a  semi- 
hostile  attitude  towards  each  other. 

I  might,  perhaps,  suggest  still  other  reasons  for  the 
disrepute  under  which  our  art  and  its  professors  have 
lain,  but  the  three  specified  are  more  than  sufficient  to 
account  for  it. 

Now  all  who  feel  sincerely  interested  in  our  art — and 
the  number  is  far  greater  than  when  the  first  draft  of 
these  lines  was  made — must  desire  to  see  this  deplorable 
state  of  things  rectified.  Let  us  attempt  to  ascertain 
from  what  causes  it  sprang,  as  such  "knowledge  must 
precede  all  endeavors  to  amend  it. 

A  principal  cause  lies,  I  think,  in  the  fact  that,  hereto- 
fore, the  majority  of  heliographers  have  adopted  this 
vocation  from  motives  ipurely  mercenary.  That  is,  the 
desire  and  the  hope  of  making  money  more  rapidly,  and 
of  avoiding  manual  labor,  which  seemed  less  easy  and 
less  "genteel,"  than  art-practice.  Will  any  one  deny 
that  this  is  fact,  however  discreditable  to  those  con- 
cerned? As  any  one,  by  a  few  days'  attention,  may 
learn  to  get,  through  the  camera,  some  kind  of  copy  of 
the  object  placed  before  it ;  and  as  the  obtaining  of  such 
copy  is  the  whole  idea  the  unimaginative,  unartistic, 
uncultured  person  has  of  a  heliograph,  the  impression 
has  gone  abroad,  that  sun-painting  is  the  easiest  of  all 
vocations  both  to  acquire  and  to  practise.  Hence  num- 
bers, not  merely  of  the  illiterate  and  undisciplined,  but 
of  dullards  without  a  spark  of  art-genius,  or  even  of 
discernment  of  the  nature  and  requirements  of  art,  have 
rushed  into  this  profession  from  the  exclusively  merce- 
nary impulses  above  named. 


QUALIFICATIONS  REQUISITE.  41 


'Now,  he  it  liow  it  may  witli  other  vocations^  mechani- 
cal, agricultural,  and  the  like,  I  feel  confident  that  no 
one  ever  became,  I  will  not  say  one  of  the  art-immortals, 
but  even  a  tolerable  artist,  from  mercenary  instigations 
solely.  Other  motives  of  a  far  different  quality  are  needed 
to  urge  him  forward  and  sustain  him  in  the  toils  and 
sacrifices  and  endurances,  which  the  attainment  of  artistic 
eminence  will  certainly  exact  of  him. 

At  the  head  of  these  motives,  and  an  absolute  sine  qua 
non,  is  a  love  for  the  art  elected,  in  and  for  itself.  "With- 
out this,  I  do  not  believe  a  genuine  artist  to  be  a  possible 
existence.  And  in  this  love  solely  some  have  found  a 
stimulus  adequate  to  carry  them  upward  to  the  very 
summits  of  excellence  and  distinction. 

Another  motive,  however,  is  allowable  to  humanity 
as  a  support  and  strengthener  of  the  first,  viz.  the  love 
of  fame, 

"  That  last  infirmity  of  noble  minds." 

Milton,  veritable  religious  hero  as  he  was,  acknow- 
ledges that  one  motive  which  inspired  his  immortal  Epic 
was,  "the  hope  of  producing  something  which  the  world 
would  not  willingly  let  die."  Ambition  of  this  sort, 
however,  never  descends  to  unworthy  means  and  modes 
for  working  out  its  ends.  The  love  of  art  forbids  the 
artist  to  seek  repute  otherwise  than  by  superior  excel- 
lence therein ;  and  under  these  conditions,  the  love  of 
fame  may  be  a  collateral  excitant,  help,  and  support  in 
his  work.  Where  one  of  these  motives  is  dominant  and 
controlling,  or  the  two  united,  even  the  desire  of  draw- 
ing pecuniary  advantage  from  art  may  be,  not  a  hin- 
drance, but  rather  a  help. 

Young  speaks  expressively  of  the  love  of  fame  in  the 
following  lines : — 


THE  CAMERA  AND  THE  PENCIL. 


"  The  love  of  praise,  howe'er  concealed  by  art. 
Reigns  more  or  less,  and  glows  in  every  heart; 
The  proud,  to  gain  it,  toils  on  toils  endure ; 
The  modsst  shun  it,  but  to  make  it  sure." 

On  the  joint  autliority,  then,  of  years  and  of  mucli  and 
varied  experience,  I  would  advise  every  one  wlio  is  not 
conscious  of  an  intense  and  sustained  love  of  heliogra- 
pliy,  on  its  own  account,  to  take  up  any  other  vocation 
than  the  practice  of  this,  be  such  other  what  it  may. 

And  speaking  of  intellectual  and  moral  elements  to- 
gether, we  should  specify  genius  and  love  of  the  art,  as 
two  elements  without  which  the  striving  to  become  a 
first-class  heliographer  would  be  a  perfectly  desperate 
undertaking. 

When  individuals  possessing  these  two  elements  adopt 
the  profession,  and  all  beside  abandon,  or  are  driven  from 
a  field  wherein  they  were  not  made  to  shine,  then  will 
lieliography  and  its  practitioners  assume  the  honorable 
rank  which  both  ought  to  hold. 

Two  other  means  by  which  the  profession  might  be 
benefited,  both  in  reality  and  in  general  repute,  are, 
1st,  Heliographic  Associations,  akin  to  the  Art-Associa- 
tions which  have  long  subsisted,  and  with  such  excellent 
effects ;  and  2d,  Heliographic  Journals,  ably  conducted 
and  liberally  patronized.  The  nature  and  possible  ad- 
vantages of  both  these  are  well  enough  understood,  and 
beginnings  in  both  have  already  been  made  among  us. 

The  main  thing,  however,  is  that  all  heliographers 
should  love  their  art ;  should  appreciate  its  wondrous 
capabilities  and  possibilities ;  and  should  strive  to  place 
it  in  the  high  rank  to  which  it  is  entitled.  So  these  ele- 
ments exist  and  act,  all  else  desirable  will  follow  in 
course. 


CHAPTER  IV. 

SOME    SUGGESTIOlSrS  AS    TO    THE    FITTING    UP    OF    HELIO- 
GRAHIC  EOOMS, 

Expression  essential  to  picture — Infants  and  children  physiognomists — Aver- 
age and  intensified  expression  of  face — Proper  aims  of  artist — Difficulties 
of  heliographer  and  painter  as  to  getting  expression — Both  must  act  on  sit- 
ter—How— Heliographer  by  fitting  up  of  rooms — Enumeration  of  particu- 
lars in  fitting  up — All  influenced  by  surroundings. 

No  artist  needs  be  told  that  expression  constitutes  tlie 
chief  beauty  and  power  of  the  human  face,  both  in  the 
living  original  and  in  its  ''  counterfeit  presentment"  by 
art.  In  our  familiar  associates  the  degree  of  this  facial 
expression  is  often  unnoticed  and  unknown ;  while  in  a 
stranger,  casually  encountered,  we  may,  at  the  outset,  be 
strongly  impressed  by  it.  The  child,  and  even  the 
infant,  are  very  sensitive  to  this  trait.  From  some 
persons  they  instinctively  shrink — not  unfrequently  with 
tears  and  seeming  fright — while  to  others  they  fondly 
cling,  with  a  ready  permission  of  handlings  and  caresses.* 

In  this  fact  lies  a  valuable  security  for  social  order, 

*  We  have  heard  (says  the  editor  of  the  N.  Y.  Photographic  Journal)  an 
anecdote  of  the  late  Daniel  Webster,  illustrative  of  this  fact.  Mr.  Webster 
was  visiting  a  friend,  and  while  waiting  in  the  parlor,  his  thoughts  became 
abstracted,  and  perhaps  were  not  of  the  most  pleasant  kind,  for  a  little  girl, 
running  into  the  room,  shrieked  violently  on  catching  sight  of  him,  and  it 
was  with  the  utmost  difficulty  her  nervous  excitement  could  be  calmed.  By 
this  time,  the  expression  of  Mr.  W.'s  face  had  changed,  and  the  moment  the 
child  looked  at  him  again  she  rushed  into  his  arms  and  caressed  him,  as  if  ho 
bad  been  her  father. 

(43) 


44  THE  CAMEEA  AND  THE  PENCIL. 

insuring,  as  it  does,  that  men  shall  nltimately  be  known 
for  what  they  really  are.  In  vain  do  the  profligate,  the 
base,  the  wicked,  and  the  selfish  mimic  those  outward 
indications  which  pertain  naturally  to  the  pure,  the  good, 
and  the  generous.  The  inward  unworthiness,  despite  all 
effort,  will  glare  through  the  fleshly  mask. 

The  face  has  an  average  expression,  stamped  thereon 
by  the  soul's  habitual  workings;  but  the  momentary 
passions  and  emotions  of  joy,  grief,  anger,  love,  or  hate, 
may,  especially  if  intense,  obliterate,  or  partially  shadow, 
its  wonted  characteristics. 

So,  too,  the  average  expression  may  be  intensified  by 
an  extraordinary  excitation  of  its  habitual  feelings. 

These  remarks  bear  directly  on  the  purpose  of  this 
chapter.  For  what  should  the  artist,  heliographic  or 
other,  aim  at,  while  exercising  his  art  ?  Not  merely  to 
get  an  exact  outline  of  his  sitter's  face.  Nor  solely  to  so 
fill  up  and  color  his  sketch,  that  in  shape,  features,  and 
tints,  it  shall  be  true  to  the  original.  These  items  are, 
indeed,  important, — nay,  essential  to  a  perfect  portrait. 
All  these,  however,  are  insufl&cient,  in  the  absence  of 
that  expression  which  reveals  the  soul  within, — that 
individuality  which  distinguishes  this  from  all  human 
beings  beside.  If  the  artist  cannot  detect  and  seize  this, 
he  makes  no  portrait. 

Both  the  painter  and  the  heliographer  encounter  diffi- 
culties in  the  matter  of  expression.  From  the  stillness 
of  the  place;  the  moveless,  and  maybe  constrained 
attitude  of  the  sitter,  producing  weariness  and  ennui ; 
his  facial  expression  is  often  unnaturally  dull  and  inani- 
mate ;  and  rarely  of  the  bright,  genial  cast  which  it  may, 
and  in  other  conditions  does,  exhibit.  To  both  artists, 
therefore,  it  is  of  vital  moment  that  some  means  should, 
if  possible,   be   devised  to  counteract   these   untoward 


FITTING  UP  HELIOGRAPHIC  ROOMS.  45 

influences,  and  summon  into  the  face,  at  the  time  of 
sitting,  the  -finest  expression  of  which  it  is  susceptible. 

Now  as  the  stamping  of  the  image,  by  the  heliographer, 
is  the  work  of  but  a  few  seconds,  he  has  not  the  same 
facilities  for  getting  the  desired  expression  as  the  paintei, 
who  may  have  many  and  prolonged  sittings.  On  the 
other  hand,  if  he  can  call  it  into  the  face  but  for  an 
instant,  his  camera  can  infallibly  seize  and  transcribe  it ; 
and  here  he  has  the  advantage  of  the  former.  It  is,  then, 
a  question  of  incalculable  import,  by  what  methods  (if 
any)  can  the  heliographer  call  up,  in  readiness  for  the 
instant  of  taking,  the  precise  expression  he  would  trans- 
fer to  his  plate  ? 

His  aim,  of  course,  must  be  to  act  upon  the  mind,  that 
is,  upon  both  the  intellect  and  feelings  of  his  sitter.  But 
how  1 

By  the  circumstances  (for  one  item)  surrounding  the 
individual,  both  prior  to  and  at  the  precise  instant  of 
sitting.  It  is  peculiar  to  the  heliographer's  vocation, 
that  his  customers, — especially  in  busy  seasons, — come 
in  numbers,  and  remain  awaiting  each  his  turn  for  being 
taken.  A  portion,  of  course,  must  be  subjected  to  a 
considerable  delay  before  being  reached ;  and  this  often 
proves  wearisome,  and  sometimes  positively  irritating, — 
either  of  which  moods  is  but  a  sorry  preparative  for  a 
saccessful  session.  To  preclude  these  moods  on  the  one 
hand,  and  to  awaken  the  right  mood  on  the  other,  were 
a  great  desideratum. 

Much,  I  think,  might  be  done  toward  both  these  ends 
by  a  proper  adjustment  and  fitting  up  of  the  heliographic 
rooms.  Without  attempting  to  furnish  a  complete  plan 
for  such  fitting  up,  I  will  venture  a  few  suggestions, 
which  each  artist  may  modify  according  to  his  own  taste 
and  judgment.     And 


46  THE  CAMERA  AND  THE  PENCIL. 

1st.  I  would  supply  the  waiting-room  witli  books  suffi- 
ciently various  to  interest  tlie  majority,  at  least,  of  all 
comers.  Not  bulky,  grave,  or  abstract  works,  but  such 
as  may  fitly  occupy  the  fragments  of  time  in  question. 
Such  works,  abundant  in  our  day,  might  do  much,  both 
for  staving  off  ennui,  and  for  awaking  the  better  moods, 

2d.  I  would  have  lying  on  the  tables,  and  in  portfolios, 
an  ample  variety  of  the  finest  engravings,  prints,  &c.,  to 
be  procured ;  together  with  curiosities  of  different  kinds, 
more  especially  such  as  have  classic,  romantic,  and  his- 
toric associations  connected  with  them — e.  g.,  medals, 
coins,  vases,  urns,  &c.,  whether  originals  or  copies. 

3d.  But,  over  and  above  these  specialties,  I  would 
make  all  things  in  and  about  the  rooms  converge  to  the 
single  point  of  producing  in  the  sitter  a  genial,  elevated 
tone  of  sentiment  and  emotion.  To  myself  our  rectangu- 
lar, formal  apartments  seem  the  very  reverse  of  fitted  to 
inspire  either  artist  or  sitter.  The  curve  is  recognised 
as  the  authentic  "Utiq  of  beauty."  I  will  not,  however, 
venture  to  dictate  whether  the  curve,  as  appearing  in  the 
circle,  or  in  some  other  of  the  conic  sections,  should 
determine  the  shape  of  the  rooms.  T  will  merely  give 
it  as  my  opinion  that  the  highest  artistic  taste  demands 
some  one  of  these  as  the  shaping  principle  of  the  con- 
struction. 

4th.  Having  achieved  the  greatest  attainable  beauty 
in  the  general  outline,  I  would  apply  the  same  formative 
principle  to  every  even  the  smallest  item  in  the  equip- 
ment of  the  rooms. 

Thus,  for  the  customary  rectangle  in  the  windows,  I 
would  substitute  some  mode  of  the  curve.  In  some,  if 
not  all  of  them,  too,  I  would  set  that  exquisite  stained 
glass  to  which  the  mediaeval  cathedrals  owed  so  much  of 
their   impressiveness.     I  would   also  drape   them  witli 


FITTIJSTG-  UP  HELIOGRAPHIC  EOOMS.  4'? 

ample  and  splendid  curtains,  taking  special  heed,  how- 
ever, that  a  pure  artistic  taste  be  not  sacrificed  to  mere 
richness. 

The  garnishing  of  the  walls,  either  with  paper-hang- 
ings or  paint,  furbishes  scope  for  a  diversity  of  tastes, 
either  or  any  of  which  may  be  artistically  beautiful.  On 
these  walls  I  would  suspend  finely-executed  and  appro- 
priate pictures  in  various  styles,  heliographic  and  other ; 
while  marble  or  other  busts  and  statues  should  occupy 
the  most  suitable  locations.  In  regard  to  these  pictures 
and  busts,  I  would  have  them  so  various,  as  to  corres- 
pond to  the  leading  types  of  character  which  might  be 
expected  among  the  sitters,  and  to  be  calculated  to  call 
into  vivid  action  the  feelings  pertaining  to  these  cha- 
racters. 

These  pictures  and  heliographs  should  be  all  of  the 
choicest  quality ;  as  walls  crowded  with  specimens  good, 
bad,  and  indifferent,  suitable  and  unsuitable,  would  do 
more  harm  than  service.  Individuals  of  both  sexes,  who 
have  been  renowned  for  high  traits  and  noble  deeds, 
might  well  be  introduced  largely.  It  were  best  to  afl&x 
the  name  to  each,  as  this  would  enhance  the  interest. 
It  were  well,  too,  to  have  a  considerable  number  of  helio- 
graphs made  in  the  establishment  here  suspended — tak- 
ing care  that  they  were  of  the  very  finest  execution  and 
finish.  So  far  as  possible,  let  all  the  heliographs  exhi- 
bited be  those  produced  in  the  establishment. 

Especially  would  I  have  suspended  from  the  walls 
several  cages  of  singing-birds.  The  notes  of  these 
charming  little  creatures,  their  beautiful  forms  and  plu- 
mage, and  their  graceful  movements  and  pretty  ways  are 
to  nearly  all  persons  exceedingly  agreeable ;  and,  divert- 
ing the  mind  from  a  consciousness  of  self,  they  tend  to 
awaken  emotions  and  call  up  recollections  and  associa- 


48  THE  CAMERA  AN"D  THE  PENCIL. 

tions  wTiicli  ynpart  to  the  face  an  amiable,  genial  ex 
pression. 

Finally,  in  selecting  the  (teclinically  named)  furniture 
of  tlie  rooms,  e.  g.,  carpets,  tables,  chairs,  sofas,  &c.,  I 
would  adhere  to  the  same  principle.  That  is,  I  would 
have  every  article  shaped  and  finished  in  accordance 
with  our  best  conceptions  of  beauty  and  grace. 

At  the  close  of  each  day,  every  room  should  be 
thoroughly  swept,  and  every  utensil  and  article  of  furni- 
ture cleansed  and  arranged  in  their  proper  places.  Before 
opening,  on  the  following  morning,  the  apartments  and 
all  their  contents  should  be  dusted,  and  fresh  boquets  of 
flowers  disposed  in  appropriate  locations.  The  general 
appearance  of  neatness  and  order  in  the  rooms,  together 
with  the  beauty  and  fragrance  of  these  floral  embellish- 
ments, will  act  agreeably  on  the  feelings  of  the  visitants ; 
and  being  naturally  observed  by  them,  and  spoken  of  to 
others,  will  enhance  the  reputation  of  the  establishment, 
and  thus  advance  both  the  fame  and  the  pecuniary  inter- 
ests of  its  proprietor. 

In  sum,  I  would  have  the  heliographic  rooms  a  temple 
of  beauty  and  grandeur,  so  that  those  entering  therein 
may  inhale  a  spirit  which  shall  illumine  their  faces  with 
the  expression  which  the  true  artist  would  desire  to 
perpetuate. 


J 


CHAPTER  Y. 

THE  SUNBEAM. 

The  sun  the  heliographer's  instrument — Deified  by  Pagans — Newton's  theory  of 
light — Young's  theory — Field's  theory — Light,  heat,  actinism — Light  a  com- 
pound of  seven  colors,  according  to  Newton — According  to  Brewster,  <fcc., 
three — EflFect  of  light  on  health,  development,  &c. — Heat  and  its  incidents, 
e.g.  absorption  by  the  atmosphere,  latency,  influence  on  climate — Frank- 
lin's experiment — Actinism  the  heliographic  element — This  a  proximate  cause 
of  germination — Decomposes  and  alters  the  arrangement  of  bodies — Elec- 
tricity in  sunbeam — Sunbeam  weighed. 

As  the  sunbeam  is  the  chief  instmmentality  of  the 
heliographic  artist,  it  would  seem  not  only  proper,  but 
indispensable,  that  such  artist  should  master  whatever  is 
known  concerning  it.  And  his  attention  is  more  espe- 
cially called  to  this  subject  now,  from  the  fact,  that  recent 
discoveries  have  added  largely  to  all  our  previous 
knowledge. 

It  cannot  be  wondered  at  that  so  many  heathen  nations 
should  have  numbered  the  sun  among  their  divinities. 
For  certainly  there  is  no  other  created  object,  which 
images  so  variously  and  vividly  the  uncreated  Creator. 
In  truth,  not  merely  the  brightness  and  beauty,  but  the 
very  vitality  of  the  vegetable,  the  animal,  and  the  human 
races,  depend  absolutely  on  the  solar  ray.  And  the  fact 
is  demonstrable,  that  the  withdrawal  of  this  ray  would 
speedily  be  followed  by  the  universal  extinction  of  all 
material  existence. 

But,  though  we  are  better  instructed,  than  to  copy 
antiquity  in  yielding  to  the  creature  the  homage  due  to 
4  (49) 


50  THE  CAMEEA  AND  THE  PENCIL. 


the  Creator  alone,  it  is  none  tlie  less  true,  that  in  the 
solar  orb  we  behold  one  of  the  most  expi^essive  and 
glorious  of  all  existing  types  of  that  great,  inscrutable 
Being,  from  whose  fiat  the  universe  sprang.  And  so 
infinitely  diverse  and  important  are  the  agencies  of  the 
sunbeam  in  all  the  spheres  of  both  nature  and  human 
art,  that  some  account  of  its  composition  and  properties 
may  be  interesting  and  perhaps  useful  to  all. 

"Without  going  into  detail,  it  may  be  well  to  note  the 
principal  theories,  which  have  obtained  concerning  the 
abstract  nature  of  light. 

As  by  Newton  himself,  so  by  his  followers,  light  is 
regarded  as  an  emission  of  material  particles  from  lumi- 
nous bodies,  corresponding  to  the  aromas  issuing  from 
all  odorous  substances ;  the  former  causing  the  sensation 
of  seeing,  as  the  latter  do  that  of  smelling.  On  the 
other  hand,  Young,  Frenel,  Harris,  &c.,  constitute  a 
school,  which  maintains,  that  light  is  a  mere  undulation 
of  a  subtile  ether,  precisely  as  sound  is  an  undulation  of 
atmospheric  air ;  the  one  causing  vision  by  impinging 
against  the  visual  nerves,  as  the  other  does  hearing  by 
contact  with  the  auditory  nerves. 

A  theory  differing  from  both  these  and  (so  far  as  I 
know)  peculiar  to  himself,  is  advanced  by  George  Field, 
author  of  some  of  the  profoundest  and  most  ingenious 
works  yet  published  on  the  subject.  He  considers  light 
the  product  of  two  concurrent  forces ;  1st,  oxygen,  or 
the  "  whitening  power,"  originating  in  the  sun ;  and  2d, 
hydrogen,  or  the  "blackening  power,"  existing  either  iu 
our  atmosphere,  or  in  planetary  space.  This  oxygen 
darted  from  the  solar  orb,  impinges  against  and  combines 
with  the  aerial  hydrogen ;  thus  producing  corabustiqn 
with  its  wonted  two-fold  result,  light  and  heat.  Light, 
therefore,  as  a  total,  and  the  several  colors,  into  which  it 


THE  SUNBEAM.  51 


is  divided  by  the  various  refracting,  reflecting,  and 
absorbent  properties  of  bodies,  are  regarded  by  bim  as 
oxydes  of  hydrogen.  He  holds,  moreover,  that  magnet- 
ism, electricity,  galvanism,  and  all  other  elementary 
existences,  are  the  result  of  the  same  two  principles,  that 
constitute  light.  Now  it  is  familiarly  known,  that  the 
three  elements  above  named  are  products  of  chemical 
action.  Field's  theory  of  light  differs  from  others  in 
maintaining  the  same  to  be  true  of  this  also. 

But  the  practical  philosophy  of  to-day  ignores  this 
whole  class  of  topics,  and  inquires  merely  whether  the 
sunbeam  be  simple  or  composite,  and  what  are  its  effects 
upon  vegetable  and  animal  life.  To  treat  cursorily  these 
two  questions  will  be  all  I  shall  here  essay. 

It  has  long  been  known,  that  the  solar  beam  was  not 
simple,  but  a  compound  of  at  least  three  elements ;  light, 
heat,  and  a  third,  of  which,  though  some  of  its  effects  had 
been  noted,  comparatively  little  was  understood.  With 
whatever  knowledge  existed  on  this  subject  were  com- 
mingled, till  recently,  a  swarm  of  fables  which  pro- 
gressive science  has  exploded.  It  is  now  demonstrated, 
that  in  the  sunbeam,  in  its  primary  state,  are  combined 
and  equably  interdiff'used  light,  heat,  and  a  third  princi- 
ple, to  which  has  been  given  the  name  of  "  actinism." 
This  name  comes  from  the  Grreek  word,  A/.tic — "Sun- 
beam,"— and  denotes  simply  "ray-power,"  or  "power 
of  the  ray."  It  is  not  a  very  felicitous  name,  since  it 
entirely  fails  to  discriminate  its  subject.  For  certainly 
light  and  heat  are  "  ray-powers"  equally  with  itself. 
We  must,  however,  make  the  best  of  this  title  for  the 
present. 

The  precise  composition  of  the  sunbeam  was  dis- 
covered by  the  artificial  prism,  though  nature's  own 
prism,  the  rainbow,  had,  for  thousands  of  years  foregone, 


62  THE  CAMERA  AND  THE  PENCIL. 

intimated  tlie  same  knowledge.  A  beam  of  white  light, 
that  is,  of  light  coming  unmodified  from  the  sun,  being 
made  to  pass  through  a  peculiarly-shaped  glass,  sustains 
several  interesting  changes.  First,  the  solar  ray  is  thus 
discovered  to  be  not  light  simply,  but  light  in  union 
with  the  two  other  principles  of  heat  and  actinism. 

Secondly,  it  is  found,  that  light  itself  is  soluble  into  seven 
distinct  colors,  according  to  the  doctrine  of  Newton  and 
of  most  natural  philosophers  long  after  him,  viz.,  red, 
orange,  yellow,  green,  blue,  indigo,  and  violet ;  these 
colors  being  of  various  degrees  of  refrangibility — tbe  red 
appearing  at  the  one  extremity  of  the  spectrum,  as  hast 
refrangible,  and  the  violet  at  the  other,  as  most  refrangi- 
ble. By  certain  delicate  experimentations,  Sir  John 
Herschell  discovered  two  colors  additional  to  tbe  original 
seven ;  one  beyond  the  violet,  named  by  him,  "  lavender ;" 
the  second  beyond  the  red,  and  named  by  him  "  crimson ;" 
or  "  extreme  red." 

Sir  David  Brewster,  however,  ascertained,  by  careful 
experiment,  that  the  "seven  colors"  of  Newton,  as  also 
the  "  nine  colors"  of  Herschell,  were  demonstrably  redu- 
cible to  tSree,  viz.,  red,  yellow,  and  blue ;  which  alone 
he  pronounces  undecomposable  or  primary  colors  ;  all  the 
others  being  readily  produced  by  combinations  of  these 
radical  three. 

But  the  prism,  besides  thus  affecting  the  luminous  por- 
tion of  the  solar  beam,  affects  no  less  its  two  other  com- 
ponents, heat  and  actinism.  At  the  red  extremity  of  the 
spectrum  it  concentrates  tbe  main  body  of  the  calorific 
rays,  while  it  gathers  the  actinic  rays  at  the  blue  ex- 
treme. Thiis  the  bulb  of  a  delicately  sensitive  thermo- 
meter, being  held  in  the  blue  ray,  will  stand  at  56°  F. ; 
in  the  yellow  it  will  rise  to  62°  F. ;  while  in  the  red,  or 
just  beyond  it,  it  will  rise  to  79°  F.— making  23°  differ- 


THE  SUNBEAM.  53 


ence  between  the  temperature  of  the  blue  and  the  red. 
It  is,  moreover,  ascertained  that  the  beat-rays  are  in- 
tensest  of  all  outside  of  tbe  red  ray,  and  that  the  actinic 
rays  act  most  powerfully  heyond  tbe  blue  ray. 

These  three  constituents  of  the  solar  beam  have  each 
its  own  special  office  in  carrying  forward  the  innumera- 
ble processes  of  both  the  inanimate  and  the  living 
worlds.  By  reiterated  experiments  a  few  of  the  most 
important  functions  of  each  have  been  discovered  and 
noted  down. 

These  I  will  now  attempt  briefly  to  describe. 

I.  Of  Light.  This,  by  unanimous  recognition,  is  the 
sole  color ist,  and  thus  the  grand  beautifier  of  the  visible 
universe.  The  azure  of  the  firmamental  vault ;  the 
green  of  the  meadow,  forest,  and  ocean;  the  gorgeous 
splendors  of  the  painted  clouds ;  the  variously  exquisite 
tints  of  the  flowers,  of  the  plumed  and  insect  tribes,  ano 
of  the  precious  gems ;  and  finally,  those  matchless  pen- 
cillings  which  often  make  the  infantile  or  female  face  a 
lovelier  spectacle  than  any  and  every  other  the  world 
can  display ;  these,  one  and  all,  point  to  and  borrow  their 
chief  beauty  from  the  sun's  luminous  rays.  This  fact  is 
shown  by  experimentation  so  simple,  that  all  may  put  it 
to  the  test. 

Thus  the  potato  and  other  vegetables,  sprouting  in  a 
dark  cellar,  are  seen  to  shoot  up  pallid  stalks.  But,  on 
a  few  days'  exposure  to  the  sunshine,  the  luhite  stalk 
takes  on  a  deep  green. 

On  the  same  principle,  tropic  vegetation  wears  a  tint 
of  green  as  much  more  richly  dark  than  that  of  the 
extra-tropic  zone,  as  the  degree  of  sunlight  enjoyed  by 
the  torrid  transcends  that  which  visits  the  temperate 
parallels  of  our  globe. 

But  while   thus   imparting   color  and   beauty  to  the 


5-i  THE  CAMEEA  AND  THE  PENCIL. 

vegetable  world,  light  works  out  anotlier  result  on  whicli 
the  very  life  of  the  animal  races  depends.  It  has  been 
discovered  that  the  green  of  all  vegetable  growths  is 
owing  to  a  substance  elaborated  in  their  cellular  tissues 
bj  the  action  of  light.  This  substance  has  been  deno- 
minated chlorophyll.  That  light,  and  neither  of  the  two 
other  constituents  of  the  sunbeam,  produces  this  sub- 
stance, has  been  determined  by  numerous  facts,  of  which 
the  following  is  a  specimen.  In  the  warm,  moist  weather 
of  spring,  the  sun's  light  is,  for  successive  days,  occa- 
sionally obscured  wholly  by  clouds,  while  its  calorific 
and  actinic  forces  are  in  free,  energetic  operation.  Dur- 
ing such  intervals,  a  forest  has  been  known  to  germinate 
and  put  forth  its  leaves  to  nigh  their  full  compass,  not- 
withstanding the  obscuration  of  the  luminous  rays.  But 
in  such  conditions  it  has  been  noted  that  the  leaves,  in 
lieu  of  exhibiting  their  wonted  hue,  wear  a  pale,  hluish- 
white  tinge.  A  single  day,  however,  of  unobstructed  sun- 
light has  been  known  to  elaborate  this  coloring  chloro- 
phyll so  rapidly  that,  ere  its  close,  the  foliage  has  put 
on  its  customary  depth  of  green.  This  may  sound  im- 
probable, but  it  is  avouched  by  the  most  reliable  autho- 
rities. 

Now,  by  analysis,  chlorophyll  has  been  discovered  to 
be  a  composite  of  oxygen  gas  and  carbon.  In  intimate 
connection  with  its  production  commences  a  second  most 
curious  and  interesting  process.  This  is  the  generation 
of  the  woody  tissue  of  the  plant,  which  is  found  to  be 
efl'ected  by  the  same  agency  of  light.  This  woody  tissue 
is  mostly  carbon,  and  of  this  carbon  the  principal  portion 
is  derived  from  the  atmosphere.  It  is  quite  familiarly 
known  that  carbonic  acid — a  compound  of  carbon  with 
oxygen  gas — is  one  among  the  constituents  of  atmo- 
spheric air.     On  this  fact  is  based  a  beautiful  and  mar- 


THE  SUNBEAM.  OO 


vellous  arrangement,  whereby  tlie  animal  and  tlie  vege- 
table worlds  are  interlinked  and  made  vitally  dependent, 
the  one  on  tbe  otber.  Thus  all  animals,  including  man, 
inhale  air,  which  is  a  composite  mainly  of  nitrogen  and 
oxygen  gases,  as  a  prime  indispensable  of  existence. 
The  lungs  decompose  this  inbreathed  air,  and  its  oxygen, 
uniting  with  a  portion  of  the  superabundant  carbon  of 
the  blood,  generates  a  species  of  combustion  which  sup- 
plies the  requisite  animal  heat,  while  at  the  same  time 
clarifying  the  blood.  The  result  of  this  combustion,  like 
that  of  our  fires,  burning  lamps,  &c.,  is  carbonic  acid, 
which  passes  by  respiration  from  the  lungs  into  the 
atmosphere. 

The  amount  of  oxygen  thus  consumed  by  the  count- 
less varieties  of  animal  existence,  as  well  as  in  other 
modes,  would,  but  for  some  replenishing  arrangement,  in 
no  long  time  exhaust  the  atmosphere  of  this  vital  ele- 
ment. But,  by  a  beautiful  compensatory  appointment, 
carbonic  acid  has  been  ordained  to  be  as  literally  the 
"breath  of  life"  to  all  vegetable  beings,  as  oxygen  is  to 
animal.  Through  their  leaves,  which  are  their  lungs,  it 
is  absorbed  from  the  atmosphere  decomposed  into  its  two 
constituents.  The  carbon  goes  to  form  the  plant's  woody 
fibre,  while  the  disengaged  oxygen  is  dismissed  into  the 
atmosphere  to  replace  what  had  been  consumed  by  ani- 
mal respiration  and  otherwise. 

The  first  who  called  general  attention  to  the  fact  (if 
not  absolutely  its  discoverer)  that  plants,  under  the  action 
of  light,  exhale  oxygen  and  inhale  carbonic  acid  gas, 
was  Dr.  Joseph  Priestly,  who  may  almost  be  pronounced 
the  father  of  modern  chemistry. 

M.  Labillardi^re  discovered  that  light  is  necessary  to 
the  development  of  pores  in  plants ;  while  Michellotti  of 


66  THE  CAMEBA  AND  THE  PENCIL. 

Turin  found  light  to  be  injurious  to  young  plants  and 
animals. 

Thus  it  iS;  that  the  animal  and  the  vegetable  worlds 
are  so  inseparably  connected  and  interdependent,  that 
were  either  annihilated,  a  swift  dissolution  would  no  less 
befall  the  other. 

What  a  beautiful  anomaly,  too,  seems  the  fact,  that 
the  solid  tissues  of  all  vegetable  growths,  whether  the 
granite  compactness  of  the  oak  and  hickory,  or  the  im- 
penetrable hardness  of  the  lignum  vitse,  are  a  product 
of  the  noiseless  agency  of  light ;  that  soft,  delicate  sub- 
stance (if  substance  we  may  name  it)  which,  launched  in 
floods  from  its  parent  orb,  and  hurrying  earthward  with 
thought's  own  speed,  impinges  against  that  most  exqui- 
sitely sensitive  of  organs,  the  eye,  without  causing  any 
other  sensations  than  those  of  refreshment  and  delight.* 

I  have  already  stated  one  proof,  that  these  results  are 
wrought  by  light  and  not  by  heat  or  actinism.  I  will 
just  allude  to  one  or  two  more. 

Thus  a  plant,  sequestered  from  light  while  exposed  to 
the  other  two  elements,  will  indeed  grow  at  its  ordinary 
rate;  but  besides  being  white  instead  of  green,  as  men- 
tioned, it  will  grow  up  soft  and  brittle,  and  will  never 
elaborate  its  proper  tvoody  fibre. 


*  Says  a  modern  writer :  "  Not  only  does  light  fly  from  the  sun  with  a  velo- 
city a  million  and  a  half  times  greater  than  that  of  a  cannon-hall,  but  it  darts 
from  every  reflecting  surface  with  lilie  velocity,  and  reaches  the  tender  struc- 
ture of  the  eye  so  gently,  that,  as  it  falls  upon  the  little  web  of  nerves  there 
spread  to  receive  it,  it  imparts  the  most  pleasing  sensations.  Philosophers 
once  tried  to  weigh  the  sunbeam.  They  constructed  a  most  delicate  balance, 
and  suddenly  let  in  upon  it  a  beam  of  light — the  lever  of  the  balance  being 
so  delicately  hung  that  the  fluttering  of  a  fly  would  have  disturbed  it.  Every- 
thing being  prepared,  they  took  their  places  and  keenly  watched  the  result. 
The  sunbeam  that  was  to  decide  the  experiment  had  flown  through  95,000,000 
of  miles  in  eight  minutes,  and  shot  upon  the  balance  with  unabated  velocity. 
But  the  balance  moved  not,  and  the  philosophers  were  mute." 


THE  SUNBEAM.  57 


Again,  it  has  been  ascertained,  tliat  witli  the  going 
down  of  the  sun  the  plant  nearly  ceases  to  decompose 
the  carbonic  acid  that  constitutes  its  chief  nutriment. 
Thus  it  would  seem,  that  night  is  appointed  as  a  season 
of  repose,  not  less  for  the  vegetable  than  the  animal 
world,  as  the  day  is  ordained  as  a  period  of  labor  for 
both. 

But  how  shall  it  be  explained,  that  the  plant  does  not 
entirely  suspend  the  decompounding  of  carbonic  acid  by 
night,  if  light  be  essential  to  this  process  ?  May  not  the 
diminished  action  still  remaining  be  caused  by  a  portion 
of  light,  which  continues  unabsorbed  by  the  darkness  ? 
Heat,  as  we  know,  has  the  property  of  becoming  latent, 
under  certain  conditions.  It  is  by  many  believed,  that 
light  possesses  a  quality  akin  to  this ;  that,  during  the 
day,  a  portion  of  it  is  absorbed  by  bodies  on  the  earth's 
surface,  and,  remaining  invisible  while  the  sun  is  above 
the  horizon,  is  disengaged  during  the  night-hours.  Thus 
the  pale,  diffused  light,  which  enables  us  to  see  partially 
by  night,  even  when  the  moon  and  stars  are  muffled  in 
dense  clouds,  is  supposed  to  come  from  this  source,  as  is 
also  the  light  emitted  by  certain  gems  in  the  dark.  It 
may  be,  then,  that  the  partial  decomposition  of  carbonic 
acid  performed  by  vegetables  at  night  is  caused  by  the 
light  thus  liberated  from  its  latent  state. 

Among  the  numerous  other  agencies  of  light  I  shall 
here  speak  of  but  one ;  I  mean  its  power  and  influence 
on  the  health  and  well-being  of  animals.  I  believe  it  is 
almost  uniformly  the  case,  that  sick  persons  suffer  most 
from  their  maladies  during  the  dark  hours,  and  enjoy 
more  or  less  alleviation  of  their  pains  while  the  sun  is 
above  the  horizon.  It  is  quite  common,  that  those  suffer- 
ing from  violent  irritation  of  the  lungs  and  throat,  com- 
mence coughing  at  sunset,  and  perforce  continue  this 


68  THE  CAMEEA  AND  THE  PENCIL. 

tormenting  process  -witliout  intermission  until  sunrise, 
when  it  ceases,  to  be  renewed  only  at  the  coming  on  of 
another  evening. 

But  there  are  facts  far  more  striking,  which  illustrate 
the  genial  influences  of  this  element.  Savage  tribes  of 
both  the  tropics  and  the  temperate  zones, — of  the  former 
more  especially, — live  almost  wholly  in  the  open  air, 
and  therefore  in  the  sunshine,  wearing  the  while  but 
scanty  clothing.  Now,  malformation,  sickness,  and 
debility  of  constitution  are  well  nigh  unknown  to  these 
races,  while,  on  the  other  hand,  they  are  very  common 
with  the  dwellers  in  the  dark  lanes  and  cellars  of  our 
large  cities.  It  is  said,  that  numbers  of  the  poor  in  the 
French  city  of  Lille  had  been  used  to  live  in  certain 
dark  recesses  under  the  fortifications,  until  the  magis- 
trates, finding  that  the  majority  of  those  born  there  were 
somehow  deformed  or  diseased,  passed  an  edict  compel- 
ling the  removal  of  these  people  elsewhere.  It  is  believed, 
too,  that  cretinism  and  the  goitre,  repulsive  maladies 
prevailing  among  the  Alps  and  Pyrenees,  are  owing  to 
the  absence  of  sunlight,  as  their  victims  dwell  in  deep, 
shady  glens,  which  the  solar  ray  but  partially  penetrates. 

But  a  still  more  curious  proof  of  the  potent  agency 
of  light  was  discovered  by  a  French  naturalist.  He 
found  that  tadpoles  could  not  undergo  their  wonted 
transformation  into  frogs,  if  kept  sequestered  from  sun- 
light, although  they  continued  increasing  in  size  and 
weight  as  tadpoles!  It  would  seem,  then,  that  those 
corporeal  transmutations,  through  which  such  multitudes 
of  the  insect  and  reptile  tribes  pass,  are  vitally  dependent 
on  the  influence  of  the  sun's  luminous  rays. 

But  I  must  pass  to  the  remaining  branches  of  my 
subject. 

II.  Of  Heat.     It  is  estimated,  that  when  the  heat-rays, 


THE  SUNBEAM.  b\f 


in  their  passage  from  the  sun  to  the  earth,  enter  tho 
atmosphere  enveloping  the  latter,  they  are  so  mucu 
affected  by  this  aerial  fluid,  that  one-third  of  them  be- 
comes absorbed  and  two-thirds  only  reach  the  surface  of 
our  globe.  It  would  seem,  then,  that  one  of6.ce  of  our 
atmosphere  is  to  protect  animal  and  vegetable  life  from 
that  unmodified  power  of  the  sun's  heat,  which  would 
be  its  destruction.  Few,  perhaps,  are  aware  of  the  quan- 
tity of  heat  received  from  that  orb.  If  you  imagine  our 
globe  entirely  incased  with  a  coating  of  solid  ice  forty 
feet  thick,  the  heat  derived  from  the  sun  in  a  single  year 
would,  it  is  calculated,  suffice  to  melt  the  whole  immense 
mass. 

I  have  already  mentioned  the  remarkable  property 
possessed  by  heat  of  becoming  latent.  Thus  a  volume 
of  ice,  which  is  water  solidified  at  32°  F.,  when  subjected 
to  172°  F.  of  heat,  becomes  liquid,  and  yet  the  resulting 
water  remains  precisely  at  the  temperature  of  the  ice,  or 
32°  F.  Consequently  140°  F.  of  heat  have  become  latent, 
so  as  to  be  inappreciable  by  any  known  test.  Again, 
when  water  passes  into  steam,  or  is  evaporated,  1000°  F. 
of  heat  become  latent,  since  steam  is  of  exactly  the  same 
sensible  temperature  with  boiling  water,  which  stands  at 
212°  F.  For  this  singular  property  of  caloric  we  dis- 
cover a  most  wise  and  beneficent  use.  Thus,  as  the 
sun  reaches  the  limit  of  his  northern  journey  on  the  21st 
of  June,  his  rays  then  reach  us  most  directly  and  of 
course  in  greater  abundance,  and  it  would  seem,  there- 
fore, that  our  hottest  weather  should  date  here.  As  a 
general  rule,  however,  our  intensest  summer  heats  fall 
a  month  or  more  later ;  and  if,  in  fact,  we  should  pass 
from  the  biting  airs  of  winter  and  the  boisterous,  pene- 
trating breezes  of  spring  to  a  May  and  June  of  such 
melting  heats,  as  characterize  our  July  and  August,  not 


60  THE  CAMERA.  AND  THE  PENCIL, 


only  severe  suffering,  but  debility  and  disease  would  be 
the  almost  unavoidable  result.  But  from  this  evil  we 
are  secured  by  this  provision  of  latent  caloric.  By  the 
gradual  liquefaction  of  the  ices  and  snows  of  winter  and 
spring,  large  quantities  of  the  solar  heat  become  pro- 
gressively latent,  and  therefore  do  not  inflict  discomfort 
on  sensitive  beings.  The  same  result  flows  from  the 
immense  evaporations  incessantly  going  on  in  every 
volume  of  water,  great  or  small,  on  the  globe  under  the 
solar  rays  in  their  greatest  intensity.  Nor  are  even  these 
the  only  methods  ordained  for  attempering,  on  our  behalf, 
the  fierce  heats  of  opening  summer  while  we  are  by 
degrees  growing  inured  to  them.  In  fact,  every  object 
on  the  earth's  surface,  animate  and  inanimate,  organic  or 
inorganic,  as  also  the  soil  itself,  has  the  property  of 
absorbing  considerable  proportions  of  caloric,  and  reserv- 
ing it  until  the  various  exigencies  of  the  animal  and 
vegetable  kingdoms  require  its  disengagement. 

While,  then,  in  these  and  kindred  ways  living  crea- 
tures are  prepared  for  the  transition  from  cold  to  heat, 
on  the  approach  of  winter  there  occurs  a  process  exactly 
the  reverse  and  for  a  reverse  purpose.  On  the  20th  of 
December  we  should  expect  our  intensest  cold,  as  then 
receiving  the  minimum  quantity  of  the  sun's  heat,  on 
account  of  his  position  in  relation  to  us.  Yet  the  last 
half  of  January  and  the  main  part  of  February  consti- 
tute usually  our  severest  season.  And  the  reason  is, 
that,  by  the  transmutation  of  immense  bodies  of  water 
into  ice  with  the  consequent  disengagement  of  the  latent 
caloric  that  kept  them  liquid,  and  the  condensation  of 
aerial  vapors  into  snow,  with  the  liberation  of  the  semi- 
latent  heat,  which  had  previously  been  absorbed  by  the 
earth  and  the  objects  on  its  surface,  the  severity  of  the 
cold  is  so  far  mitigated  that  our  systems  become  fitted 


THE  SUNBEAM.  61 


for  what  they  must  encounter.  What  human  parent, 
even  the  tenderest  and  most  affectionate,  so  cares  for  the 
well-being  of  his  children  ? 

Most  persons,  I  presume,  have  read  of  an  experiment 
performed  by  Dr.  Franklin  to  ascertain  whether  the  color 
of  a  substance  had  any  connection  with  its  capacity  of 
absorbing  and  radiating  heat.  Laying  several  differently 
colored  pieces  of  cloth  on  the  snow  where  they  were 
exposed  to  the  sun,  he  found  considerable  difference  in 
the  rapidity  with  which  the  snow  melted  under  them. 
His  experiment  has  been  repeated  by  Sir  Humphrey 
Davy  and  others,  and  the  result  reached  by  them  all  is, 
that  black  possesses  most  absorbent  power,  to  which 
succeed  in  order  brown,  green,  red,  yellow,  and  white. 
It  is  ascertained,  moreover,  that  the  power  of  a  sub- 
stance to  radiate  caloric  corresponds  exactly  to  its  power 
of  absorbing  it.  In  selecting  the  color  of  our  garments 
for  summer's  heat  or  winter's  cold,  this  knowledge  may, 
perhaps,  be  of  some  service. 

The  same  principle,  as  regards  color,  pervades  the 
whole  vegetable  world.  The  damask  rose  which  bears 
its  beautiful  ruddy  tint  because  it  reflects  merely  the  red 
ray  of  the  solar  beam,  while  absorbing  the  rest,  imbibes 
also  a  larger  share  of  the  heat-rays  than  the  white  rose  of 
the  same  bulk,  which  reflects  the  sun's  entire  light  and 
absorbs  none,  and  of  consequence  absorbs  fewer  of  the 
heat-rays.  The  bulb  of  a  delicate  thermometer,  placed 
successively  within  the  corollas  of  these  two  flowers, 
exhibits  the  mercury  as  rising  considerably  higher  in  the 
red  than  in  the  white  one. 

It  appears,  then,  that  those  exquisite  flower-tribes, 
which  look  like  beautiful  characters  in  which  God  has 
written  His  immeasurable  love  all  over  the  green  page 
of  earth,  subserve  ends  of  utility  not  less  than  embellish- 


62  THE  CAMEEA  AND  THE  PENCIL. 

ment  to  man's  abode.  First,  imbibing  tbe  solar  heat,  and 
tbus  aiding  to  shield  living  creatures  from  its  too  intense 
summer  fervors ;  next  absorbing  from  the  atmosphere 
that  carbonic  acid  which,  unmodified,  is  hostile  to  all 
animal  life ;  they  then  exhale  into  the  air  their  own  fra- 
grant breath  freighted  with  that  oxygen  which  is  a  prime 
necessity  of  universal  animate  existence.  And  all  the 
while  their  delicate  loveliness  is  a  perpetual  charm  and 
blessing  to  the  eye,  while  their  wondrous  organism 
speaks  more  potently,  than  sermon  or  homily  of  man, 
of  the  wisdom  and  goodness  of  their  Creator. 

"'Neath  cloistered  boughs  each  floral  bell,  that  swingeth 
And  tolls  its  perfume  on  the  passing  air, 
Makes  Sabbath  in  the  fields,  and  ever  ringeth 
A  call  to  prayer." 

That  heat  is  the  principal  agent  in  the  generation  of 
winds,  from  the  irresistible  tornado  to  the  gentlest 
zephyr ;  that  it  also  enacts  an  important  part  in  the 
development  of  electricity  and  magnetism,  elements  so 
essential  as  to  be  almost  identical  with  the  very  currents 
of  universal  life,  is  too  well  known  to  require  notice 
here.  Omitting  also  much  else  that  is  interesting  on  this 
subject,  I  proceed  to  the  third  principle  in  the  Sunbeam. 

III.  Actinism.  As  this  is  the  principle  with  which 
the  heliographer  is  chiefly  concerned  in  the  exercise  of 
his  art,  it  is  highly  desirable  he  should  be  acquainted 
with  whatever,  as  yet,  is  known  of  its  relations  and 
effects.  And  since  less  is  known  of  actinism  than  of 
either  light  or  heat,  he,  as  well  as  the  student  of  science, 
has  before  him  a  large  field  for  experiment  and  investiga- 
tion. In  consequence  of  Daguerre's  discovery,  it  has 
been  studied  mainly  in  reference  to  its  influence  on  the 
mineral  and  inorganic  world.     Something,  however,  is 


THE  SUNBEAM.  63 


known  of  its  action  on  vegetable  and  animal  structures, 
and  of  this  I  will  briefly  speak. 

With  the  depositing  of  the  seed  beneath  the  soil,  we 
detect  the  first  operation  of  this  principle.  By  experi- 
ments, which  I  need  not  detail,  it  has  been  ascertained 
that  actinism,  with  little  if  any  aid  from  light  and  heat, 
is  the  proximate  cause  of  germination.  You  may  exclude 
the  two  last,  and  yet,  under  the  radiation  of  the  former 
in  connection  with  moisture,  a  seed  will  sprout  in  twenty- 
four  hours.  Conversely,  exclude  actinism  and  expose 
the  seed  to  light  and  heat,  and  it  will  remain  for  days 
without  signs  of  germination.  In  fact,  until  germination 
has  occurred,  and  the  plant  has  risen  above  the  surface, 
light — strange  to  say — is  a  positive  hindrance  to  the  com- 
mencement of  growth.  So  also  is  heat, — at  least  in  that 
unmodified  state  in  which  it  comes  from  the  sun.  One 
actual  reason,  then, — though  we  may  not  be  aware  of 
it — ^for  burying  seeds  in  the  earth  is,  that  the  soil  may 
serve  as  a  screen  from  the  full  power  of  the  solar  light 
and  heat.  Actinism,  a  chemical  force,  of  which  one  of 
the  principal  functions  is  to  decompound  and  alter  the 
arrangement  of  the  particles  in  whatever  it  touches,  is 
enabled  to  pierce  through  the  earthy  covering  to  the 
seed.  It  then  transmutes  the  starch  of  the  seed  into  gum 
and  sugar,  which  are  the  proper  nutriment  of  the  vege- 
table embryon.  The  tiny  root  penetrates  the  husk  and 
shoots  downward,  while  the  baby  stem  pushes  its  way 
upward  into  the  air.  Then  light  and  heat  join  forces 
with  actinism,  and  continue  operating  with  it  in  all  after 
stages  of  the  plant's  life.  Probably  very  few  of  the 
whole  number  of  of&ces  executed  by  each  in  vegetive 
growth  are-  as  yet  known ;  though  we  do  know  that 
neither  of  the  three  singly,  nor  either  two  of  them 
united,  will  suf&ce  to  perfect  the  plant,  but  that  all  must 


64  THE  CAMEEA  AND  THE  PENCIL. 

cooperate  in  the  process.  That  actinism,  however,  per- 
forms an  important  part  in  the  work  is  obvious  from  its 
being  the  emphatically  decomposing  power,  while  decom- 
position is  incessantly  required  in  vegetable  nutrition ; 
doing  for  the  plant  very  much  what  the  gastric  juice 
does  for  the  animal. 

Little  has  been  hitherto  ascertained  in  regard  to  the 
effect  of  this  principle  on  animal  life.  Analogy,  how- 
ever, would  intimate  that  it  must  be  considerable.  It  is, 
indeed,  most  likely  that  a  part  at  least  of  the  influence 
ascribed  to  light  on  animal  health  and  development 
belongs  properly  to  actinism. 

Many  interesting  discoveries  have  been  made  touching 
the  relation  of  actinism  to  inorganic  substances,  such 
having  been  the  direction  given  to  it  by  its  connection 
with  the  heliographic  art.  Thus,  the  chlorine  and 
hydrogen  gases  will  not  effect  a  chemical  union  in  dark- 
ness. But,  on  their  exposure  to  sanshine,  an  immediate 
combination  is  produced  by  actinic  influence. 

So,  again,  peroxalate  of  iron  in  solution  remains  un- 
changed in  a  dark  place.  But,  brought  into  sunshine  in 
a  glass  vessel,  it  commences  a  vehement  fermentation, 
which  terminates  by  precipitating  small  crystals  of  pro- 
toxalate  of  iron  of  a  brilliant  yellow  color. 

Actinism,  as  we  have  seen  to  be  the  case  with  light 
and  heat,  is  to  some  extent  absorbed  by  certain  bodies ; 
for,  if  you  first  expose  chlorine  to  the  solar  ray,  it  will 
then  combine  with  hj^drogen  even  in  darkness. 

As  a  decompounding  force,  actinism  effects  some 
change  in  the  atomic  arrangement  of  every  body  whereon 
it  falls,  be  it  the  firmest  rock  or  the  softest  wood  or  leaf. 
Were  it  not,  then,  for  counteracting  and  reparative 
agencies  in  the  economy  of  creation,  this  delicate-seem- 
ing power,  though  the  tender  nurse   of  the  vegetable 


THE  SUNBEAM.  65 


infant,  ■would  eventually  crumble  into  ruins  the  total 
frame-work  of  the  universe !     But  no  sooner 

"Comes  still  evening  on, 
And  in  her  sober  livery  all  things  garbs," 

than  the  action  of  this  disturbing  force  is  suspended. 
That  rest,  which  is  indispensable  to  man  and  beast,  is  not 
less  so  to  vegetable  beings.  This  rest  is  a  restorative  to 
the  latter,  as  to  the  former,  and  stays  the  advance  of 
decomposition  beyond  the  degree  in  which  it  subserves 
the  ends  of  life  and  well-being. 

In  a  succeeding  chapter,  I  shall  briefly  describe  the 
heliographic  process,  with  the  agency  of  actinism  therein 
and  the  chemical  substances  contributing  to  the  result. 
Before  closing  this  chapter,  however,  I  will  mention 
that,  by  an  ingenious  apparatus,  heliographic  pictures 
have  been  produced  in  absolute  darkness  ;  arrangements 
having  been  made  to  exclude  light  entirely,  and  heat 
mostly,  while  the  actinic  rays  were  allowed  free  course. 
This  establishes  the  point  beyond  question,  that  the 
actinic,  and  neither  of  the  other  two  constituents  of  the 
sunbeam,  is  the  working  instrument  of  the  heliographic 
artist.  In  accordance  with  this  is  the  fact  that  cloudy 
weather  is  equally  favorable,  to  say  the  least,  to  the  pro- 
duction of  pictures  with  days  of  brightest  sunshine ;  and 
that  the  prodigal  radiance  of  tropic  climes  is  less  propi- 
tious to  the  successful  practice  of  this  art  than  the  paler 
sunshine  of  our  chilly  north. 

It  was  long  a  matter  of  debate  whether  or  not  electri- 
city made  a  fourth  constituent  of  the  solar  ray.  But  the 
recent  experiments  of  the  Grerman  Baron  Eeichenbach 
have  completely  settled  this  question  in  the  affirmative. 
I  will,  therefore,  now  close  this  imperfect  account  of  a 
matter  in  itself  highly  interesting  as  well  as  important, 
5 


66  THE  CAMEEA  AND  THE  PENCIL. 

with  the  hope  that  my  professional  brethren  may  be 
induced  to  cultivate  a  field  which,  though  as  yet  but 
partially  explored,  is  known  to  be  incalculably  rich,  in 
such  a  manner  as  may  largely  augment  our  existing 
knowledge. 

I  may  here  casually  mention  that,  in  a  subsequent 
chapter  detailing  my  method  of  practice  in  the  produc- 
tion of  heliographs,  I  naturally  must  touch  again  on  the 
subject  of  the  present  chapter. 


CHAPTER  yi. 

HARMONY  OP  COLORS. 

The  love  of  ornament  innate  and  universal — Constituents  of  visual  beauty, 
form  and  color — Harmony  of  colors — Its  meaning — Knowledge  of  this  prac- 
tically useful,  e.  g.  in  dress,  embellishment,  &c. — Ottr  guides  in  using  colors 
for  costume,  e.g.  climate,  size,  form,  complexion,  &c.,  of  person;  also,  age, 
social  position,  <fcc. ;  and  still  further,  time,  place,  and  occasion — The  best 
portraits  are  those  which,  retaining  likeness,  conceal  defects  and  blemishes, 
and  heighten  charms  and  beauties — Exposition  of  the  effects  of  various 
colors  on  the  appearance — Definition  of  harmony  of  analogy  and  harmony 
of  contrast  in  colors — Also  of  primary,  and  secondary  or  complementary 
colors — Colors  emblematic  of  dispositions  and  character — Illustrative  quo- 
tations from  the  poets. 

A  TASTE  for  ornament  and  embellishment,  or,  to  speak 
most  comprehensively,  a  love  of  beauty,  is  undeniably 
an  innate,  ineradicable  property  of  our  nature.  And 
that  the  Creator  designed  this  taste  or  love  to  be  satisfied, 
and  has,  therefore,  provided  means  for  this  satisfaction, 
as  expressly  and  abundantly  as  for  that  of  any  among 
our  appetites,  even  those  most  essential  to  life,  our  own 
eyes  assure  us,  whether  we  direct  them  to  the  firmament 
above  us,  or  over  the  globe  we  inhabit. 

Of  visual  beauty,  the  two  material  constituents  are 
form  and  color.  That  each  of  these  is  based  on  mathe- 
matical principles  of  its  own,  which  determine  the  quan- 
tity and  arrangement  necessary  to  the  production  of  the 
result  named  beauty,  there  can  be  no  question  whatever. 
For  the  Deity  operates  not  by  casual  agencies,  nor  has 
accident  any  part  in  the  evolution  of  His  designs.     The 

(67} 


68  THE  CAMERA  AND  THE  PENCIL. 

floating  of  a  dust-grain  in  the  air  depends  upon  laws  no 
less  exact  and  indefeasible  tlian  the  journey  of  Neptune 
through  his  immeasurable  circuit.  But  whether,  for 
various  causes,  more  attention  has  been  devoted  to  the 
study  of  form,  than  that  of  color,  or  whether  the  latter 
subject  has  greater  intrinsic  difficulties  than  the  former, 
I  believe  it  is  unquestionable,  that  the  principles  and 
regulating  laws  of  the  former  are  far  better  under- 
stood than  those  of  the  latter.  This  is  the  more  to  be 
regretted  in  relation  to  matters  of  every  day  concern, 
because  while  defects  of  form  may  be  measurably  dis- 
guised '  and  redeemed  by  extraordinary  beauty  of  color- 
ing, the  most  exquisite  symmetry  of  form  may  be  marred, 
if  not  utterly  spoiled,  by  a  tasteless  ugliness  of  coloring. 

Such,  however,  being  the  state  of  the  case,  it  should 
not  be  expected  by  the  reader,  as  I  certainly  do  not  my- 
self expect,  that/wZZ  justice  will  be  done,  in  this  chapter, 
to  the  subject  of  color.  All  I  hope  is,  that  some  sugges- 
tions may  be  offered,  which  may  prove  valuable  to  such 
as  may  have  occasion  to  employ  colors  either  for  pro- 
fessional or  personal  uses. 

In  this,  as  in  all  other  cases,  nature  is  our  great  object 
of  study ;  our  main  source  of  information ;  our  para- 
mount and  infallible  guide  wheresoever  and  so  far  as  we 
can  apprehend  her  directions.  The  Deiiy  is  the  great 
proto-artist,  the  one  perfect  harmonist  of  colors,  and  the 
material  creation  is  the  measureless  sphere  of  His  work- 
ings. Would  we  learn  what  is  meant  by  the  "harmony 
of  colors,"  we  have  only  to  examine  the  products  of  that 
divine  pencil.  In  the  mineral,  the  vegetable,  the  animal, 
and  the  aromal  worlds,  may  be  witnessed  an  infinity  of 
specimens,  either  and  all  illustrating  the  principle  in 
perfection.  You  may  select  the  many-tinted  gems  that 
irradiate  the  mountain's  dark   caverns;   the  delicately 


HARMONY  OF  COLORS.  69 

pencilled  shells  tliat  beautify  tlie  green  depths  of  the 
sea ;  the  myriad-hued  flowers  that  decorate  spring,  sum- 
mer, and  autumn  in  succession,  or  those  winged  flowers, 
the  birds  and  insects,  that  traverse  the  airy  realms ;  the 
gorgeous  assemblage  of  clouds  that  wait  on  the  depart- 
ing sun,  or  the  glad  splendors  that  play  over  the  face  of 
young  morning;  or,  finally,  that  most  exquisite  of  all 
combinations  of  colors,  which  constitutes  the  magic  of  a 
beautiful  human  countenance.  Of  all  these  specimens, 
select  which  you  will,  and  you  have  the  very  thing  of 
which  we  speak.  And  if  you  can  but  detect  the  philoso- 
phy of  the  thing ;  that  is,  the  order  in  which  these  colors 
are  arranged,  the  proportion  each  bears  in  the  combina- 
tion, and  the  grounds  of  both,  you  will  then  possess  the 
law  to  guide  you  in  your  own  use  of  colors. 

Such  knowledge  is  important  to  the  public  on  various 
accounts ;  such  as  the  purposes  of  the  toilet,  the  fitting 
up  of  our  dwellings,  and  for  many  other  similar  objects. 
I  do  not  consider  it  necessary  to  argue  the  point,  that 
dress  is  a  subject  deserving  careful  consideration.  If 
there  are  those,  who  charge  such  consideration  to  the 
score  of  a  reprehensible  vanity  and  criminal  folly,  I  shall 
attempt  no  argument  with  them,  but  feel  safe  in  the 
example  of  Him  who  garnished  "the  rose  of  Sharon 
and  the  lily  of  the  valley"  with  that  exquisite  beauty 
which  mocks  all  human  skill,  and  dims  the  "  array  of 
Solomon  in  all  his  glory." 

One  of  the  leading  principles  in  regard  to  coloring,  is 
that  it  should  bear  a  strict  relation  to  climate.  In  nature 
such  is  invariably  the  case.  In  the  dazzling  light  and 
beneath  the  intense  fervors  of  the  tropic  sun,  the  flowers, 
birds,  and  insects  wear  a  corresponding  gorgeousness  of 
tint,  and  the  grass  and  foliage  a  kindred  vividness  of 
green.     Of  course,  then,  the  dress  and  other  equipments 


70  THE  CAMEEA  AND  THE  PENCIL. 

of  the  inhabitants  should  bear  relation  to  this  fact.  And 
they  actually  do  so,  whatever  the  cause  may  be,  whether 
a  knowledge  of  principles  or  mere  intuition.  Thus  the 
various  reds  and  yellows,  which  go  by  the  name  of 
"warm"  or  "gay"  colors,  are  employed  profusely,  in  the 
way  of  ornament,  by  the  denizens  of  hot  climates ;  nor 
do  we  deem  it  in  them  an  affront  to  correct  taste.  So, 
also,  whether  from  knowledge  or  intuition,  we  find  the 
chief  materials  of  their  dress  to  be  of  a  white  color,  this 
being  the  least  absorptive  and  most  reflective  of  colors, 
and  therefore  most  conducive  to  coolness. 

Again,  in  temperate  climates,  where  the  sun's  light 
and  heat  are  less  vivid  and  intense,  we  see  a  correspond- 
ing difference  in  the  aspect  of  both  vegetable  and  animal 
worlds ;  universally  there  is  less  prodigality  of  life  itself. 
The  forest  and  the  meadow  are  robed  in  a  paler  green  ; 
the  flowers,  exquisite  as  they  are,  exhibit  a  less  gorgeous 
coloring,  and  the  feathered  tribes  charm  rather  by  the 
sweetness  of  their  minstrelsy  than  by  the  splendor  of 
their  plumage.  Perfect  taste,  then,  requires  that  in  the 
colors  of  x>ur  dress  and  other  appointments,  we  should 
have  a  general  regard  to  the  aspect  of  nature,  as  modified 
by  our  geographic  position. 

Bearing  in  mind  these  general  considerations  which 
respect  a  people  as  a  whole,  let  us  now  touch  on  some  of 
the  specialties  which  concern  each  individual.  And  as, 
if  we  can  ascertain  the  true  principles  of  harmonic  color- 
ing belonging  to  a  single  class  of  subjects,  we  can  easily 
transmute  these  into  universal  laws,  so  for  the  sake  of 
clearness  and  simplicity  we  select  for  our  subject  the 
female  dress  in  its  relation  to  colors,  this  being  certainly 
as  important  as  any  other,  and  as  little  under  the 
guardianship  of  a  cultivated  taste. 

At  the  outset,  then,  it  is  manifest  that  in  choosing  the 


HAEMONY  OF  COLOKS.  71 

'predominant  color  of  a  lady's  dress,  as  well  as  the  sub- 
ordinate  colors  employed  as  ornament,  strict  regard 
should  be  had  to  her  size,  her  configuration,  and  espe- 
cially her  complexion  and  style  of  expression.  The  point 
'to  be  aimed  at  in  all  this  is,  that  so  far  as  depends  on  her 
garb,  she  should  hole  as  v)ell  as  nature  aided  hy  art  will 
'permit;  and  that,  therefore,  defects  should  be  supplied, 
redundancies  thrown  into  the  shade,  and  actual  beauties 
be  brought  conspicuously  into  view.  The  philosophy 
of  which  may  be  stated  thus :  nature  aims  ever  at  the 
highest  beauty,  the  utmost  perfection ;  but  in  moulding 
the  human  body  her  creative  force  is  intercepted  by 
several  causes  which  belong  to  our  present  stage  of 
being;  such  as  the  stubborn,  unpliable  quality  of  the 
material  composing  the  body,  the  defects  inherited  from 
ancestors,  the  casualties  to  which  the  individual  is  ex- 
posed during  corporeal  development,  &c.  In  conse- 
qaence  of  all  these  obstructions,  faultless,  complete  beauty 
is  rarely,  if  ever  seen.  In  striving,  then,  by  art  to  rectify 
deformities  or  imperfections,  we  do  not  contravene  and 
impeach,  but  rather  cooperate  with  and  justify' ndiivccQ. 
That  is,  by  help  of  powers  furnished  by  herself,  we  do 
somewhat  towards  bringing  to  view  that  ideal  of  beauty 
which  nature  aimed  at  and  would  have  attained,  had  she 
been  dealing  with  that  more  ductile  and  tractable  mate- 
rial of  which  the  spiritual  hody  is  compounded. 

On  the  same  principle,  the  true  artist,  when  limning 
a  human  face,  does  not  represent  it  exactly  as  it  is,  with 
every  casual  wart,  pimple,  and  freckle  that  now  disfigure 
it,  but  just  as  it  would  be  if  her  moulding  idea,  instead 
of  being  partially  thwarted  by  the  intractability  of  the 
material  she  wrought  with,  had  been  brought  out  and 
expressed.  Therefore,  you  say  of  a  portrait  by  the  pen- 
cil of  an  artist-genius,  that  "  it  is  an  excellent  likeness. 


72         t  THE  CAMEEA  AND  THE  PENCIL. 

but  mucli  handsomer  tliaii  the  original."  Acting  accord- 
ing to  the  same  law,  by  cultivation,  grafting,  &c.,  we 
elevate  the  punj,  sour,  worthless  native  apple  into  that 
large,  beautiful,  delicious  fruit  which  delights  three 
senses,  instead  of  affronting  all.  Shakspeare,  the  high 
priest  and  interpreter  of  nature,  has  said  the  whole  thing 
in  a  few  lines  : 

"  You  see,  we  marry 
A  gentler  scion  to  the  wildest  stock ; 
And  make  conceive  a  bark  of  baser  kind 
By  bud  of  nobler  race.     This  is  an  art 
Which  does  mend  nature — change  it  rather;  but 
The  art  itself  is  nature." 

This  principle  is  of  universal  application,  and  we  are 
fully  authorized  by  nature  herself  to  apply  it  equally  to 
a  lady's  toilet  as  to  aught  beside.  Therefore,  we  say  that 
dress  should  do  its  utmost  towards  producing  the  ideal 
of  the  species  of  beauty  it  adorns. 

For  example,  a  lady,  inclined  to  stoutness  and  of  extra 
height,  should  select  a  color  for  the  principal  robe  which 
disguises  these  deviations  from  the  "juste  milieu." 
Black,  which  absorbs  all  luminous  rays,  has  the  effect  to 
diminish  the  apparent  bulk,  and  black,  therefore,  is  her 
appropriate  color. 

White,  which  reflects  all  light-rays,  operates  to  magnify 
the  apparent  size,  and  thus  garments  of  this  color  would 
give  her  too  much  of  the  Glumdalclitch  aspect.  Con- 
trariwise, a  small-sized  woman  should  eschew  black, 
unless  she  chooses  to  resemble  the  Lilliputian  ladies  seen 
by  the  immortal  Gulliver,  and  adopt  white,  which  to 
the  beholder's  eye  will  retrieve  the  short-comings  of 
nature. 

Suppose,  again,  a  lady  has  a  complexion  of  extra  rud- 
diness.    In  choosing  a  bonnet,  she  should,  if  possible. 


HARMONY  OF  COLORS.  73 


adopt  a  tint  which  will  mitigate  this  excess,  A  head- 
dress of  a  deeper  red  than  her  complexion  will,  by  com- 
parison, produce  this  efiect,  while  one  of  pink  or  any 
still  lighter  red  will  exaggerate  the  original  ruddiness. 

On  the  same  principle,  a  salloio  complexion  should 
eschew  a  light-blue  bonnet,  which  aggravates  its  defect, 
and  adopt  one  of  transparent  white,  which  conceals  it. 

A  joah  complexion  is  improved,  by  a  pale-green  head- 
dress into  a  delicate  pink  hue,  through  the  operation  of 
the  principle  of  harmonious  contrast  in  colors  which  I 
shall  presently  explain ;  while  one  of  lemon-yelhw  would 
heighten  this  paleness  to  very  ghastliness. 

Once  more,  the  delicate  red  and  white  complexion, 
nature's  master-piece  of  coloring,  should  avoid  head-gear 
of  crimson  or  any  deep  red,  as  by  contrast  giving  it  a 
pale  appearance,  and  adopt  a  light  blue,  or  light  green,  or 
transparent  white,  either  of  which  will  at  least  leave  to  it 
its  original  beauty,  if  it  does  not  enhance  it. 

The  grounds  of  the  foregoing  suggestions  may  be 
better  understood  from  a  brief  description  of  certain 
peculiarities  in  the  nature  of  the  sun's  luminous  rays. 
Of  the  several  kinds  of  harmony  of  colors,  the  two  prin- 
cipal are  the  "harmony  of  analogy,"  and  the  "harmony 
of  contrast." 

By  the  harmony  of  analogy  is  meant  that  order  in 
which  the  colors  occur,  as  they  are  displayed  in  the 
prismatic  spectrum.  That  is,  from  one  of  the  primitive 
colors  you  pass,  by  scarce  distinguishable  gradations, 
through  numerous  intermediate  shades  of  color  to  the 
next  primitive,  and  so  onward  through  the  whole.  Com- 
plete specimens  of  this  species  of  harmony  may  often  be 
witnessed  in  the  sunrise  and  sunset  clouds  and  skies. 
Somewhat  of  the  same  is  seen  frequently  in  extensive 
prospects,  embracing   sky,  land,  and  water,  though  io 


74  THE  CAMERA  AND  THE  PENCIL. 

general  variety  is  given  to  this  spectacle  by  tlie  occa- 
sional introduction  of  tlie  harmony  of  contrast. 

What  is  meant  by  this  latter  phrase  may,  perhaps,  be 
apprehended  most  clearly  from  the  following  diagrams, 
which  help  to  illustrate  certain  peculiarities  of  color. 


Red.     /        iP       \  /  7     \     YeUow. 


^olet  or  purple.  \  e  /      \  /»        /   Sreen. 


There  are  several  points  here  requiring  notice.  In 
figure  1st,  it  will  be  observed  that  the  primaiy  color, 
blue,  occupies  full  double  the  space  in  the  spectrum  of 
the  other  two  primaries,  red  and  yellow.  Thus  repre- 
senting the  proportions  by  figures,  2  will  stand  for  red ; 
3  for  yellow ;  and  5  for  blue. 

The  intermediate  colors  noted  down  in  this  diagram 
are  called  secondaries;  and  a  peculiarity  belonging  to 
them  is,  that  the  secondary  standing  opposite  to  a  par- 
ticular primary  is  formed  by  combining  the  two  other 
primaries.  Thus  green,  standing  over  against  red,  is  a 
compound  of  blae  and  yellow ;  orange,  opposed  to  blue, 
of  red  and  yellow ;  and  violet,  opposite  yellow,  of  blue 
and  red.  These  secondaries  are  commonly  called  the 
compiJeinents  of  the  opposing  primaries,  because,  being  a 
composite  of  two  primaries,  they  constitute,  when  added 


HAEMONY  OF  COLORS. 


75 


to  the  third  primary,  white  light,  or  the  whole  of  the  solar 
luminous  ray.  If  you  lay  a  red  substance  on  a  white 
surface,  and  gaze  at  it  steadily  a  few  moments,  you  will 
perceive  around  it  a  halo  of  green.  So  a  blue  object 
exhibits  an  orange  ring,  and  a  yellow  a  violet  one. 


Figure  2. 

Orange-red 

Orange. 

Yellow- 

•orange. 

Red.       / 

^ 

\\// 

/y 

> 
\      Yellow. 

\  Green-yellow. 

Pnrple-red.  /    i 

\ 

4\i> 

^ 

Bed-purple.  1 

^ 

f^ 

\ 

"  /Yellow-green. 

Green.     \ 

^ 

\  ,'\ 

/    Purple. 

Blue-Porple. 

1      \ 

> 

Blue-Green. 

Violet-Blue. 

Blue. 

Green-blue. 

Modifications  of  these  secondary  or  composite  colors, 
as  is  seen  in  figure  2d,  may  be  multiplied  indefinitely  by 
combining  the  secondaries,  and  thus  forming  tertiaries ; 
by  combining  the  tertiaries  into  another  shade ;  and  so 
so  on  for  hundreds  of  times  or  more.  But  the  same 
principle  continues  to  hold,  that  each  of  these  shades  or 
tints  has  a  complement,  as  we  saw  in  figure  1st,  which 
complement  is  a  union  of  the  tints,  that  do  not  enter  into 
its  own  combination. 

These  complemental  colors  are  also  named  "contrasts," 
and  as  they  harmonize  with  the  colors  over  against  them, 
we  thus  arrive  at  the  phrase,  "  harmony  of  contrasts." 

Let  one,  then,  study  carefully  the  harmony  of  analogy, 
as  illustrated  by  the  solar  spectrum,  or  on  a  still  more 
splendid  scale  in  the  rainbow  and  the  tinted  clouds ;  let 
him  also  master  the  harmony  of  contrast  through  the 


76  THE  CAMERA  AND  THE  PENCIL. 


requisite  methods;  and  I  am  confident  we  should  no 
longer  be  shocked  by  those  practical  barbarisms  of  taste 
now  prevalent  in  so  many  spheres. 

As  I  have  already  said,  my  object  in  this  chapter  is 
not  to  specify  minutely  the  requirements  of  a  pure  taste 
in  the  costume  of  one  or  another  person.  It  is  rather  to 
present  a  few  general  principles,  which  may  aid  the 
reader  in  deciding  what  is  most  appropriate  to  him  or 
herself.  I  will,  therefore,  subjoin  a  few  suggestions  to 
those  already  advanced. 

It  would  seem  obvious  enough,  that  in  selecting  alike 
the  colors  and  the  fashion  of  a  garb,  special  regard  should 
be  paid  to  the  age,  the  general  characteristics,  and  the 
social  position,  not  less  than  to  the  complexion,  the  shape, 
and  the  size  of  the  individual  concerned.  For  a  middle- 
aged  lady  to  array  herself  like  a  girl  of  eighteen,  or  for 
an  old  lady  to  wear  the  garb  of  one  or  the  other,  or  for 
either  of  the  three  to  make  an  exchange  with  either  of 
the  other  two,  would  be  an  absurdity  too  glaring  to 
require  one  word  of  exposition.  Again,  for  a  lady  of 
grave  dispositions  and  reserved  deportment,  whether 
middle-aged  or  young,  to  put  on  the  gay  or  semi-gay 
costume,  which  seems  not  only  appropriate,  but  almost 
essential  to  one  of  vivacious,  lively  temperament,  and 
frank,  cordial  manners,  is  a  self-demonstrated  incon- 
gruity, even  though  her  own  feelings  (as,  I  believe, 
would  commonly  occur)  should  not  interdict  it.  And 
then,  the  intuitions  of  society,  which  are  not  apt  to  be 
far  astray  in  such  matters,  intimate  that  the  position  of 
the  head  of  a  family  should  have  some  bearing  on  the 
costume  of  its  members.  For  example,  the  lady  of  a 
clergyman,  or  of  a  man  exercising  any  other  function 
of  kindred  gravity,  would  be  likely  to  offend  the  suscepti- 
bilities of  the  judicious  and  refined  by  appearing  in  that 


HARMONY  OF  COLORS.  77 

rainbow-tinted  garb,  wliicli  would  be  appropriate  enougli 
to  the  messenger  of  Olympus,*  or  one  holding  a  similar 
oifice. 

But  tbere  are  yet  otber  qualifying  circumstances  to  be 
kept  in  view,  sucb  as  time,  place,  occasion,  and  tlie  like. 
No  sane  person,  for  example,  would  dress  for  attending 
a  funeral,  as  for  attending  a  theatre  or  ball ;  or  for  super- 
vising her  domestic  affairs,  as  for  receiving  morning  or 
afternoon  calls.  An  instinctive  feeling  prevails  well  nigb 
universally,  that  the  affairs  with  which  one  is  occupied, 
and  the  mood  belonging  to  the  time,  should  exert  a 
controlling  influence  on  the  quality  of  the  garb.  Thus 
red  and  yellow,  which  for  obvious  reasons  are  named 
''warm  colors,"  harmonize  well  in  their  several  shades 
wilh.  festive  and  joyous  scenes.  So  also  does  white,  which 
is  counted  an  emblem  of  cheerfulness,  dignity,  and  peace, 
as  well  as  of  innocence,  purity  and  delicacy,  all  of  which 
traits  must  characterize  such  scenes  to  give  them  favor 
with  persons  of  refinement. 

Green,  the  complemental  of  red,  harmonizes  with  it 
to  make  a  festive  garb  of  that  medium  liveliness,  which 
pleases  many  tastes  of  the  more  chastened  quality. 

Blue  is  called  the  coldest  of  the  colors,  but  is  interest- 
ing for  its  symbolic  associations.  Thus  it  is  reckoned 
an  emblem  of  constancy  and  generosity,  as  appears  in 
the  sailor's  phrase,  "  true-blue."  Being  also  the  color  of 
heaven  and  of  the  human  eye,  it  is  taken  for  a  symbol 
of  intelligence  and  of  divinity,  and  the  ancients  pro- 
nounced the  mantle  of  Minerva,  or  Wisdom,  to  be  blue, 
as  also  the  robes  of  the  Muses.  These  intimations  point 
out  many  occasions  of  the  comparatively  graver  descrip- 
tion for  which  this  color  would  be  appropriate. 

Moreover,  orange,  which  is  deemed  the  warmest  of 


*  Iris. 


THE  CAMERA  AND  THE  PENCIL. 


colors,  as  combining  red  and  yellow,  being  the  comple- 
mental  of  blue,  orange  and  blue  for  persons  of  certain 
complexions,  would  constitute  a  very  striking  harmony 
of  contrast  even  in  a  festival  costume. 

So,  for  a  lady  of  good  height  and  proportions,  and 
with  that  exquisitely  white  skin  sometimes  witnessed, 
jet  black  is  a  charming  color  for  almost  every  occasion. 

I  venture  to  call  black  a  color,  as  also  white,  though 
the  ordinary  writers  on  color  deny  the  name  to  both. 
Why  they  do  so,  I  know  not,  since  both  produce  in  us  the 
sensation  of  color,  and  both  are  composites  in  varying 
proportions  of  the  three  primitive  colors ;  in  black,  blue 
predominating,  red  coming  next,  and  yellow  last ;  while 
in  white,  yellow  predominates,  red  comes  next,  and  blue 
is  subordinate  to  both.  What  are  termed  negative  or 
neutral  colors,  are  those  compounded  either  of  the  three 
primaries,  or  secondaries^  or  tertiaries,  in  such  propor- 
tions that  neither  is  predominant.  Black  and  white  are 
the  extremes,  and  grays  the  intermediates  of  these. 

The  neutral  grays  and  the  semi-neutral  drabs,  &c.,  are 
admirably  fitted  for  a  lady's  serf ?,'ce- dress  while  attending 
to  household  concerns,  or  while  walking  abroad  or  jour- 
neying, and  thus  exposed  to  dust  and  soil  of  various 
kinds. 

Supposing  the  above-mentioned  conditions  observed, 
the  complexion  and  the  color  of  the  hair  are  the  two 
things  which  mainly  determine  the  colors  to  be  employed 
in  the  dress.  Of  the  Caucasian  race,  the  two  principal 
complexions  are  named  the  blonde  and  the  brunette. 
The  blonde  is  said  to  be  a  subdued  orange  color,  or  a 
union  of  red  and  yellow ;  while  the  brunette  is  a  brown, 
— that  is,  a  black  in  which  yellow,  or  red  and  yellow, 
or  green  and  orange  predominate  according  to  its  shades. 
Of  course  both  the  blonde  and  the  brunette  are  more  or 
less  mingled  on  the  face  with  carnation  or  roseate  tints. 


HARMONY  OF  COLORS. 


The  ligtit  liair  whicli  commonly  accompanies  tlie 
blonde  complexion,  is  also  a  subdued  orange,  and  takes 
different  names  according  as  one  or  another  color  pre- 
dominates in  it.  Thus,  if  yellow  predominates,  it  is  called 
flaxen  or  golden ;  if  red,  chestnut  or  auburn ;  if  brown, 
simply  light,  or  light-brown.  The  hair  of  the  brunette 
is  usually  black  or  dark-brown,  though  there  are  not  a 
few  exceptions  to  this  rule. 

The  prevalent  blue  eye  of  the  blonde  presents  the 
harmony  of  contrast  with  the  orange  of  the  hair  and 
complexion, — orange  being  the  complemental  of  blue, — 
while  the  ordinary  black  or  dark  eye  of  the  brunette 
exhibits  the  harmony  of  analogy  with  the  dark  hair. 

Having  thus  stated  briefly  the  circumstances  of  various 
kinds  to  be  regarded  in  selecting  the  colors  of  the  cos- 
tume, I  have,  perhaps,  done  all  that  should  be  expected 
in  a  chapter  which  aims  rather  to  state  and  illustrate 
principles  than  to  farnish  practical  formulas.  Before 
closing,  however,  I  will  ofier  a  few  applications  of  these 
principles  to  particular  cases. 

For  example,  sky  blue  in  the  dress  harmonizes,  by 
agreeable  contrast,  with  the  blonde  complexion  and  hair, 
since  the  orange  tint  of  this  complexion  is  the  comple- 
mental of  blue,  besides  that  the  latter  color  is  pleasing 
for  its  emblematic  quality. 

On  the  other  hand,  yellow  and  red  bordering  on  the 
orange  combination,  contrast  brilliantly  with  black  or 
dark  hair,  since  blue,  the  complemental  of  orange,  is 
predominant  in  these  hues. 

Light-green  is  becoming  to  colorless  complexions  or 
tnose  faintly  colored,  because,  having  red  for  its  comple- 
mental, it  casts  a  delicate  rosy  tint  upon  the  face. 

On  the  other  hand,  dark-green  best  suits  an  over-ruddy 
complexion,  since,  having  light-red  for  its  complemental, 


80  THE  CAMERA  AND  THE  PENCIL. 

it  softens  this  excess  of  red  by  a  reflection  of  the  latter 
hue. 

Yiolet  or  purple  in  direct  contiguity  with  blonde  com- 
plexions is  not  becoming,  since  its  complemental  being 
yellow,  a  greenish-yellow  hue  is  cast  upon  the  face.  If 
used  at  all,  it  should  be  of  so  very  dark  a  shade,  as  to 
make  the  skin  look  white  by  contrast. 

I  have  already  intimated  that  black  or  dark  draperies 
make  persons  appear  smaller,  and  white  or  light  draperies 
larger,  than  they  actually  are.  Consequently,  stout  per- 
sons look  best  in  the  former,  and  diminutive  persons  in 
the  latter.  Black  shoes,  for  the  same  reason,  are  best 
suited  to  not  very  small  feet,  while  a  delicate- sized  foot 
is  charming  in  a  white  satin  slipper.  So  a  dress  vertically 
striped  increases  the  apparent  height,  while  a  dress  with 
horizontal  stripes  is  apt  to  produce  a  squat,  dumpy  appear- 
ance. 

Without  going  into  further  details  of  this  kind,  let  me 
refer  the  reader  who  would  see  this  subject  handled  with 
sufficient  minuteness,  as  well  as  eminent  ability,  to 
Field's  Chromatography,  in  connection  with  numerous 
articles  in  the  London  Art  Journal. 

I  trust  it  may  enhance  the  interest,  if  not  the  intrinsic 
value,  of  this  chapter,  if,  in  closing,  I  cite  from  the  poets 
a  few  passages  which  exhibit  their  accurate  perceptions 
of  the  harmonies  both  of  analogy  and  contrast  in  color, 
as  well  as  their  use  of  colors,  as  symbolical  of  human 
passions  and  affections.  It  is  almost  superfluous  to  say 
that  here,  as  everywhere  else,  we  find  Shakspeare  speak- 
ing with  a  knowledge  that  seems  like  inspiration. 

HARMONY  OF  ANALOGY. 

"  There  was  a  pretty  redness  in  her  lip, 
A  little  riper  and  more  lusty  red, 


HARMONY  OF  COLORS. 


81 


Than  that  mixed  in  her  cheek;  'twas  just  the  difference 
Betwixt  the  constant  red  and  mingled  damask." 

Shakspearb. 


"  A.  pudency  so  rosy,  that  I  thought  her 
As  chaste  as  unsunned  snow." 


Shaksfeare. 


"  My  bloody  hand  will  rather 
The  multitudinous  seas  incarnadine, 
Making  their  greenness  red." 

"  My  mistaking  eyes, 
That  have  been  so  bedazzled  with  the  sun, 
That  everything  I  look  on  seemeth  green." 


Shaksfeare. 


Shaksfeare. 


"  Beauty's  ensign  yet 
Is  crimson  in  thy  lips  and  in  thy  cheeks, 
And  Death's  palbjiog  is  not  advanced  there.' 

"  White  and  azure  laced 
With  blue  of  Heaven's  own  tinet." 

"  Through  whose  white  skin 
With  damask  eyes  the  ruby  blood  doth  peep.' 


Shaksfeare. 


Shaksfeare. 


Marlowe. 


"Here  Love  his  golden  shafts  employs;  here  lights 
His  constant  lamp,  and  waves  his  purple  wings." 


"  Aurora  now,  in  radiant  purple  drest, 
Shone  from  the  portals  of  the  golden  east.'- 


Milton. 


Tasso. 


I  subjoin  from  tlie  poets,  a  few  examples  of  the  use  of 
colors  in  symbolizing  sentiments,  passions,  and   affec- 
tions : 
6 


82 


THE  CAMERA  AND  THE  PENCIL. 


"I  have  marked 
A  thousand  blushing  apparitions  start 
Into  her  face;  a  thousand  innocent  shames 
In  angel  whiteness  bear  away  those  blushes." 

"  And  thus  the  native  hue  of  resolution 
Is  sicklied  o'er  with  the  pale  cast  of  thought.'' 

"  Go,  prick  thy  face,  and  over-red  thy  fear. 
Thou  lily-livered  boy ;  those  linen  cheeks 
Are  counsellors  to  fear." 

"  'Tis  not  alone  my  inky  cloak,  good  mother, 
Nor  customary  suit  of  solemn  black, 
That  can  denote  me  truly." 

"  Glittering  in  golden  coats,  like  images, 
And  gorgeous  as  the  sun  at  midsummer." 

"  Long,  pity,  let  the  nations  viow 
Thy  sky -worn  robes  of  tender  est  blue  ; 
And  eyes  of  dewy  light." 

"  The  blushes  of  the  opening  rose 
Thy  tender  modesty  disclose; 
The  snow-white  lilies  of  the  vale 
Bififusing  fragrance  to  the  gale, 
Careless,  and  sweet,  and  mild,  we  see 
In  them  a  lovely  type  of  thee." 


Shaesfeare. 


Shakspeare. 


Shaesfeare. 


Shakspeare. 


Shakspeare. 


Collins. 


Russian  Anecdotes. 


"  0  welcome  pure-eyed  Faith,  white-handed  Hope, 
Thou  hovering  angel  girt  with  golden  wings, 
And  thou,  unblemished  form  of  Chastity." 

"  Celestial,  rosy-red,  Love's  proper  hue." 

"  O'erlaid  with  black,  staid  Wisdom's  hue." 

"Hence,  loathed  Melancholy, 
Of  Cerberus  and  blackest  midnight  born." 


Milton. 
Milton. 
Milton. 

Milton. 


HAEMONY  OF  COLOES.  83 


"  Rosy-fingered  Aurora." 

"Blooming  youth  and  gay  delight 
Sit  on  thy  rosy  cheeks  confest." 


Homer. 


Prior. 


There  are  numerous  other  points  of  interest  per- 
taining to  our  subject,  which  would  amply  repay  dis- 
cussion ;  such  as  the  physical  nature  of  light  and  colors, 
the  correspondence  between  colors  and  sounds,  and  the 
singular  analogy  between  the  harmonies  of  the  two,  &c. 
My  limits,  however,  forbid  my  touching  on  these,  even 
were  they  not,  perhaps,  too  purely  scientific  for  a  work 
like  this.  But  to  the  reader,  who  may  desire  to  penetrate 
more  deeply  into  the  topics  here  discussed,  I  would  recom- 
mend the  examination  of  the  following  works,  constitut- 
ing my  principal  helps  iq  the  preparation  of  this  article, 
viz. :  Field's  Chromatics  and  Chromatography  ;  the  Lon- 
don Art  Journal  from  its  commencement ;  Lectures  on 
Painting  by  Sir  Joshua  Eeynolds ;  do.  by  James  Barry ; 
do.  by  John  Opie ;  do.  by  Henry  Fuseli ;  do.  by  B.  R. 
Haydon ;  and  Modern  Painters,  by  an  Oxford  Student. 
Either  and  all  of  these  will  be  found  instructive  and 
entertaining  both  by  the  artist  and  amateur. 


CHAPTER  VII. 

THE  HUMAN  FACE — THE  MIEROR  OF  THE  SOUL  AND  THE 
'  CHIEF  SUBJECT  OF  ART. 

The  face  the  most  perfect  medium  of  expression — "  Mosaics,"  by  Saunders — 
The  face  an  index  of  the  soul — Views  of  Lavater,  Bacon,  Haller,  Browne, 
and  Southey — Language  of  the  face  changeless  and  universal — The  fore- 
head, nose,  and  chin  indicative  of  original  character;  eyes  and  mouth  of 
changeable  character — The  eye  extraordinarily  expressive — Reasons — The 
lips  very  expressive — Varieties  of  lips — Human  faces  the  most  interesting 
of  sights — Applications  of  the  term  face  to  inanimate  things — National 
types  of  face  and  bead,  e.  g.  Greek  and  Italian  features  marking  certain 
races — Examples — The  eyes,  what  qualities  expressed  by  various  colors, 
Ac,  of — Noses — What  is  indicated  by  different  forms — Anecdote  of  Napo- 
leon— Cerebrum  and  cerebellum — Mental  properties  intimated  by  different 
shapes  of  these. 

I  HAVE  taken  the  ground  in  this  treatise  that  expres- 
sion is  a  "sine  qua non  in  art ;"  and  have  vindicated  my 
position  by  showing  that  man,  the  animal,  and  inanimate 
nature,  each  and  all  derive  from  this  their  whole  signifi- 
cance and  their  chief  interest.  As  the  human  face,  then, 
is  the  most  perfect  of  all  mediums  of  expression ;  the 
medium,  too,  for  expressing  that  intelligence  and  affec- 
tion whereon  rests  man's  claim  to  be  "  made  in  the  image 
of  God ;"  it  seems  essential  to  the  completeness  of  my 
work  that  I  should  speak  with  somewhat  of  minuteness 
of  itself  and  its  characteristics. 

For  the  chief  materials  of  this  chapter  I  am  indebted 
to  the  "  Mosaics"  of  the  accomplished  author  of  "  Salad 
for   the    Solitary,"    &c.      His   charming   essay   on   the 

(84) 


THE  HUMAN  FACE.  85 


"  Human  Face  Divine,"  with  its  wealth  of  apt  citations 
from  many  rare  works,  has  saved  for  me  the  necessity  of 
looking  beyond  itself.  With  this  general  acknowledg- 
ment of  obligation,  I  take  from  his  pages  what  serves  my 
purpose,  without  distinguishing  it  from  matter  gotten 
elsewhere. 

The  face  is  to  a  man  what  the  dial  is  to  a  clock,  or  a 
table  of  contents  to  a  book,  viz.,  the  index  of  the  soul. 
And  that  the  animate  and  inanimate  worlds  have  physi^ 
ognomies  not  less  expressive  of  interior  meanings  than 
is  man's,  we  have  elsewhere  shown. 

Lavater  says,  "  Faces  are  as  legible  as  books ;  the  main 
difference  being  that  they  are  sooner  read  and  far  less 
deceptive."  Bacon,  Haller,  Sir  Thomas  Browne,  and 
Southey  have  all  recorded  their  faith  in  the  face  being  a 
reflector  of  the  soul. 

Measurably  every  one  talks  by  means  of  his  own 
countenance,  and  believes  in  the  indications  of  the  coun- 
tenances of  others.  What  oratory  can  be  more  vital 
with  meaning  than  the  telegraphic  glances  of  the  eye  ? 

The  significance  of  sounds  is  uncertain  and  limited  to 
special  places  and  times ;  while  the  language  of  the  face 
is  immutable  and  universal.  It  is  the  mind's  short-hand, 
crowding  much  matter  into  a  small  compass. 

For  the  original  character  scrutinize  the  unchanging 
features — the  forehead,  the  nose,  and  the  chin — for  the 
secondary  or  acquired  character,  the  changeable  features, 
i.  e.,  the  eyes  and  the  mouth.  The  eye  has  extraordinary 
expressiveness,  since,  in  addition  to  its  own  intrinsic 
expression,  it  serves  as  a  mirror  wherein  meet  and  are 
reflected  the  various  expressions  of  the  other  parts  of  the 
face. 

The  lips  are  exceedingly  expressive ;  being  capable  of 
manifesting  every  cast  of  character,  from  the  most  deli- 


86  THE  CAMEEA  AND  THE  PENCIL. 

cate  sensibility  to  the  lowest  brutality.  The  most  flexi- 
ble of  the  features,  they  cbange  oftener  and  to  a  greater 
degree  tban  any  otber,  and  tlius  mark  tbe  nicest  shades 
of  character  and  even  of  passing  emotion. 

How  plainly,  in  the  close-shut  month,  with  its  encir- 
cling muscles  rising  into  a  sort  of  ridge,  do  we  read 
firm,  resolute  will ;  while  in  loose  flabby  lips  we  seem 
to  behold  not  less  plainly  a  vacillating,  irresolute  dis- 
j^osition ! 

In  unusually  thin  lips  we  discern  sharpness  and  asceti- 
cism of  temper ;  while  in  extra  thick  lips  we  find  sensual 
proclivities  accompanied  mostly  by  good  nature  and 
generous  tendencies. 

Saunders  holds  the  face  to  be  not  alone  the  vehicle  of 
feeling,  but  the  instrument  of  wisdom  as  well ;  afl&rming 
that  no  one  can  be  utterly  stupid  who  has  much  com- 
merce with  human  faces.  In  confirmation  of  his  doc- 
trine he  instances  artists  and  barbers  as  being,  from  their 
familiarity  with  faces,  more  intelligent  on  the  average 
than  musicians  and  shoemakers,  whose  vocations  do  not 
necessitate  this  familiarity. 

Of  all  sights,  the  most  generally  and  permanently 
interesting  is  that  of  human  faces.  The  face,  shadowed 
by  grief  or  furrowed  deeply  by  prolonged  adversity, 
who  can  view  without  tenderness  or  pity?  The  inno- 
cent, gleeful  face  of  the  infant ;  the  bright,  wide-awake 
face  of  the  finely-moulded  boy ;  the  diaphanous  face  of 
the  beautiful  and  amiable  woman,  a  very  world  of  sweet 
meanings ;  and  the  face  of  the  high-souled,  august  man, 
surcharged  alike  with  wisdom,  nobleness,  and  power ;  who 
can  contemplate  these,  or  either  of  them,  without  a  more 
than  ordinary  interest  and  sympathy  ? 

How  universal,  as  well  as  high,  is  our  estimate  of  the 
face,  is  evinced  by  our  habitual  use  of  the  word  to  denote 


THE  HUMAN  FACE.  87 


the  expression  of  inanimate  equally  with  animate  objects. 
Thus,  face  of  the  earth,  of  the  waters  of  the  sky ;  face 
of  affairs,  &c.,  are  phrases  constantly  and  everywhere  in 
vogue. 

It  is  a  curious  philosophic  fact  that  general  and  pro- 
longed addiction  to  a  special  pursuit,  or  class  of  pursuits, 
will  produce  a  distinctive  cast  of  physiognomy  and  con- 
formation of  head.  Thus,  the  Greeks  and  the  Italians, 
long  devoted  to  the  arts,  and  growing  up,  generation 
after  generation,  within  view  of  the  finest  artistic  crea- 
tions, have  the  most  ideal  faces  and  heads  in  the  world, 
even  in  these  distant  days.  In  fact,  the  keen-eyed  phy- 
siognomist may  find  in  every  nation  a  cast  of  counte- 
nance peculiar  to  itself;  and,  still  further,  may  discover 
in  particular  districts  and  even  families  faces  or  single 
features  distinctively  marking  them.  Thus,  the  race  of 
Hapsburgh  have  a  peculiar  under  lip,  and  that  of  Bourbon 
a  pear-shaped  face ;  while  in  one  section  of  Tuscany  is 
seen  the  Boccaccio  face,  and  in  another  the  Dante  face, 
and  finally  in  Genoa  the  Bonaparte  face. 

It  is  curious  to  note  in  Caracalla  and  others  of  the 
brutalized  Eoman  emperors,  the  same  bull  neck  and 
broad  hind-head,  which  are  so  plainly  visible  in  the  per- 
formers of  the  prize  ring.  Like  propensities  and  habits 
can  mould  to  one  or  another  pattern  the  muscle  and  even 
the  solid  bone.  And  the  physiognomies  of  the  depraved 
women  of  Eome's  corrupter  days  reappear  in  those  of 
the  times  of  Charles  Second  of  England,  and  of  France's 
Louis  Fifteenth. 

In  the  color,  as  well  as  other  marks  of  the  eye,  expe- 
rience has  found  intimations  of  peculiar  casts  of  mind 
and  character.  Thus,  dark-blue  eyes  are  held  to  be 
commonest  in  persons  of  delicate,  refined  natures,  and 
light-blue  in  the  active  and  hardy.     Gray  and  greenish 


88  THE  CAMEEA  AND  THE  PENCIL. 

eyes  are  nearly  identical  in  their  significances  witli  tlie 
light-blue.  Hazel  eyes  usually  intimate  a  vigorous,  pro- 
found, masculine  mind.  Shakspeare's  eyes  were  hazel ; 
Swift's  blue ;  Milton's,  Scott's,  and  Byron's  gray,  wbicb 
is  the  special  color  of  genius.  Black  eyes  are  thought 
to  be  mostly  indicative  of  strong  passions,  combined  with 
quick,  penetrating  intellects. 

The  traditional  and  historic  beauties,  from  the  Grecian 
Helen  and  the  Oriental  Shirene  to  Madame  de  Maintenon 
and  Mary  of  Scotland,  were  distinguished  by  the  large, 
lustrous  eye, — the  same,  probably,  attributed  by  Homer 
to  Juno  in  the  epithet  "  Ox-eye." 

The  fact  that  nearly  all  the  bodily  tissues  meet  and  are 
blended  in  the  eye,  may  indicate  its  importance  and  its 
representative  character. 

The  nose  is  by  no  means  an  insignificant  feature  of  the 
face ;  as  is  most  unpleasantly  shown  by  any  casualty  that 
destroys  or  mars  it. 

Physiognomists  reckon  four  classes  of  noses,  viz., 
Grecian,  denoting  imagination,  equanimity,  and  pa- 
tience,— Eoman,  courage,  energy,  magnanimity, — Cat 
or  Tiger,  cunning,  vindictiveness,  obstinacy,  selfish- 
ness,— Pug,  imbecility  and  indecision.  You  find  the 
Grecian  among  scientific,  literary,  artistic  men, — the 
Eoman  among  active,  efficient  men  and  warriors, — the 
Pug  among  the  flippant,  contemptuous,  and  sneering. 

These  four  classes  are  distributed  into  numerous  vari- 
eties, e.  g.,  aquiline,  snub,  thin,  flat,  &c., — each  and  all 
indicating  characteristics  more  or  less  decided  and  dis- 
tinctive. Napoleon  says  he  selected  for  performing  any 
important  head-work  long-nosed  men,  if  properly  edu- 
cated,— holding  that  ''the  brain,  lungs,  and  heart  of  such 
must  be  cool  and  clear,  as  the  respiration  was  bold  and 
free." 


THE  HUMAN  FACE.  89 


Phrenologists  assign  to  the  cerebellum,  or  hinder  por- 
tion of  the  cranium,  the  organs  of  sense,  common  to  man 
and  the  inferior  animals ;  and  to  the  cerebrum,  or  front 
cranium,  the  organs  of  the  mind  or  soul.  According  to 
the  greater  or  less  development  of  one  class  or  the  other, 
do  the  mental  or  animal  qualities  hold  the  ascendant. 

Thus,  a  small,  triangular  forehead,  however  large  the 
entire  head,  denotes  paucity  of  intellect.  A  forehead 
high  and  broad,  prominent  and  gently  arched,  bespeaks 
great  genius  or  talent ;  while  one  with  irregular  pro- 
tuberances intimates  a  choleric,  fitful  temper.  Deep, 
vertical  lines  between  the  eye-brows  commonly  denote 
mental  vigor  coupled  with  concentrativeness. 

But  we  must  close.  That,  in  a  considerable  degree, 
the  face  is  an  index  to  both  the  intellectual  and  moral 
character,  is  beyond  dispute.  Indeed  we  are  all  physi- 
ognomists in  practice,  if  not  in  theory.  A  nd  who  better 
than  young  children,  and  even  veritable  infants  in  arms  ? 
Everybody  knows  by  experience  that  certain  persons 
strongly  attract,  while  others  not  less  strongly  repel  these 
little  ones ;  and  that  these  antagonist  influences  come 
mostly,  at  least,  from  an  unreasoning,  instinctive  percep- 
tion of  physiognomic  expression  is,  I  suppose,  unani- 
mously recognised. 

As  the  face  is  altogether  the  most  important  subject 
for  representation  by  the  portraitist  whether  with  the 
camera  or  the  pencil, — since  its  true  expression,  when 
transcribed,  is  the  revelation  of  the  real  man, — so  it 
seemed  to  me  especially  important  that  a  summary  should 
here  be  given  of  what  observation  has  taught  about  the 
face  and  its  indications. 

And  thanks  to  the  fascinating  author  of  "  Mosaics," 
the  contents  of  his  rich  pages  have  greatly  lightened  our 
task. 


CHAPTER  yni. 

THE  HELIOGEAPHIC  AETIST  AND  HIS  SITTEES. 

Tho  operant  must  try  to  please  all — The  selfish  and  impatient  must  be  conci- 
liated— Proper  conduct  of  the  operant  here — Heliographic  sittings  should  be 
brief — Difficulties  specified — Anecdote  of  Reynolds. 

The  present  chapter  will  be  devoted  to  sitting,  and 
sundry  incidents  connected  therewith.  The  heliographer 
will  concede  to  my  age  and  experience  the  privilege  of 
speaking  in  a  homely,  advisory  strain.     And 

1st.  Let  us  never  lose  sight  of  the  fact  that  we  must, 
if  practicable,  phase  all  who  seek  our  services.  Nor  let 
us  lose  sight  or  recollection  of  the  myriad  difficulties 
which  must  needs  be  encountered  and  completely  mas- 
tered, if  we  would  achieve  high  excellence  and  a  durable 
reputation  in  our  art. 

Often — perhaps  most  commonly — the  heliographer's 
business  comes  upon  him  in  "lumps,"  and  his  sitters  in 
crowds.  This  point  is  dependent  upon  the  season  of  the 
year,  the  particular  weather  of  the  moment,  and  the 
general  circumstances  of  the  "times."  In  auspicious, 
genial  weather  our  galleries  may  be  thronged  by  num- 
bers, consisting  partly  of  family-groups,  and  partly  of 
individual  women  and  men ;  all  strangers  alike  to  each 
other  and  to  the  operant.  Usually,  all  are  somewhat 
in  haste  for  a  sitting,  while  many  of  them  are  constitu- 
tionally selfish,  and  not  overstocked  with  either  patience 
or  politeness.     The  last-named  are  very  apt  to  demand 

(90) 


THE  HELIOGEAPHIC  ARTIST  AND  HIS  SITTERS,  91 


being  waited  upon  at  once;  and  to  threaten  going  other- 
where if  denied,  or  if  requested  to  delay  for  a  few  minutes 
only,  even  though  such  denial  and  request  be  of  absolute 
necessity. 

Now  we  all,  of  course,  desire  to  secure  the  patronage 
of  every  visitant,  and,  in  the  hope  of  detaining  them  long 
enough,  we  are  extremely  prone  to  promise  compliance 
with  their  wishes.  In  this  mood  of  excited,  anxious 
feeling  we  commence  our  task  with  whatever  judgment, 
skill,  and  expedition  we  can  command, — goaded  the 
while  by  our  subject's  point-blank  demand  of  perfection, 
as  a  sine  qua  non  ! 

While  the  artist  is  disposing  his  sitter  for  taking,  he 
should  keep  up  a  cheerful,  genial,  appropriate  conversa- 
tion, either  with  his  sitter  or  with  some  other  person  or 
persoDS  present  in  order  to  summon,  if  possible,  a  genu- 
inely characteristic  expression  into  the  face. 

If  the  sitter's  features  are  very  mobile  and  variable, 
and  the  desired  expression,  therefore,  is  liable  to  flit  too 
soon  away,  then  a  large  mirror,  or  "cheval-glass,"  upon 
castors,  may  be  stationed  before  him,  wherein  he  may 
behold  his  own  image.  He  may  then,  with  some  efibrt, 
discern  in  that  reflected  face  the  expression  wished  for, 
and  may  endeavor  to  retain  it  unaltered  for  the  few 
seconds  required  for  its  being  arrested  and  fixed  by  the 
solar  pencil. 

2d.  I  apprehend  that  there  are  few  heliographers  who, 
while  taking  the  portraits  of  their  sitters,  are  accustomed 
to  instruct  them  in  the  general  matter  of  sitting,  includ- 
ing the  items  of  posture,  expression,  &c.,  or  to  engage 
them  in  rousing  and  genial  conversation  immediately 
before  the  commencement  of  the  process,  or  the  exposure 
of  the  plate  to  the  object. 

When  all  is  prepared  for  letting  on  the  sunbeam  to 


92  THE  CAMERA  AND  THE  PENCIL. 

secure  the  impression,  some  operants  will  exclaim,  "A 
good  expression,  sir" — ''  Please  keep  still,  miss,  and  look 
pleasantly, — 'tis  going  on,"  &c.,  &c., — and  even  these  few 
useless  and  perhaps  worse  than  useless  phrases  are  uttered 
in  a  low,  chilling,  abrupt  tone,  and  mostly,  too,  after  the 
admission  of  the  light  and  the  commencement  of  the  pro- 
cess !  And  yet;  at  this  precise  moment  there  are  impera- 
tively required  that  affable,  gracious,  prompt,  social  qua- 
lity,— that  instantly  discriminating,  truthful,  artistic  eye, 
that  ripe  judgment,  and  that  skilled,  dexterous  hand, — 
and  superadded  to  all  the  rest  that  excitant,  exhilarating, 
magnetic  influence  which  the  felicitously-tempered  artist 
brings  instinctively  to  bear  upon  his  sitter,  when  the  soul 
of  the  latter  is  to  be  roused  to  give  expression  to  the  face  ! 

3d.  If  groups,  either  of  adults  or  of  children,  are  to  be 
taken,  an  instant  or  two  alone  are  granted  wherein  to  com- 
pose our  picture, — to  arrange  the  most  effective  lights  and 
shadows, — ^to  select  the  best  aspect  of  each  face, — to  place 
the  instrument  in  position, — to  summon  by  conversation 
and  whatever  else  into  each  countenance,  and  strive  to 
keep  there,  the  most  intelligent  and  genial  expression 
until  the  momentary  exposure  of  the  plate  has  been 
effected  and  the  impression  secured.  After  all  this,  the 
image,  of  course,  must  be  developed,  fixed,  finished,  and 
exhibited  to  the  sitter.  If  the  attempt  be  satisfactory, 
we  must  proceed,  in  like  manner,  to  wait  on  other  im- 
patient expectants,  handling  all  the  numerous  parts  of 
the  delicate  process  with  the  utmost  practicable  expe- 
dition, ■* 

No  one,  therefore,  can  appreciate,  or  in  the  slightest 
degree  apprehend,  the  difficulties  encountered  daily  and 
hourly  by  the  heliographer,  save  a  capable,  sensitive 
practitioner  himself.  He  must  deal  with  and  overcome, 
too,  on  the  instant,  a  multitude  of  vexations,  perplexities, 


THE  HELIOGRAPHIC  ARTIST  AND  HIS  SITTERS.  93 

and  obstacles  in  mere  manipulation,  of  whicli  outsiders 
neither  know  nor  can  know  anything  at  all. 

The  heliographer,  then,  who  would  win  friends  and 
customers,  and  achieve  a  reputable  name,  must  be  good- 
tempered,  just,  patient,  and  forbearing ;  prompt,  gracious. 
and  courteous  towards  all  callers  without  exception. 
The  artist  (be  it  remembered)  of  highest  capacity,  and 
the  most  efficient  manager  of  the  camera,  must  ofttimes 
encounter  persons  who  are  excessively  hard  to  please ; 
some  for  lack  of  native  judgment,  coupled  with  ignorance 
of  art ;  some  through  a  foolish  pride  or  vanity,  and  a 
thirst  for  praise;  others  because  it  is  their  nature  to 
differ  from  others  and  indulge  in  indiscriminate  fault- 
finding. 

Others,  again,  will  find  fault  with  the  face  exclusively, 
and  will  call  another  day  for  another  trial, — desiring,  in 
fact,  a  new  sitting,  in  order  to  view  themselves  in  a  dif- 
ferent article  of  apparel,  such  as  a  collar,  a  cape,  another 
style  of  head-dress,  or  of  arranging  the  hair,  or,  it  may 
be,  in  an  entirely  new  dress,  though  they  will,  all  the 
while,  speak  of  the  face  exclusively. 

Thus  I  have  often  heard  persons,  on  first  seeing,  and 
before  examining,  a  truly  exquisite  heliograph  of  them- 
selves, exclaim,  with  both  hands  uplifted,  "  O  frightful, — 
it  is  not  at  all  like, — it  is  perfectly  horrible !" 

The  artist,  in  response,  appeals  to  the  nature  of  his 
art,  and  the  necessary  truthfulness  of  his  camera,  and 
refers  the  objecting  sitter  to  the  mirror;  but  is  told,  "I 
never  did  like  the  daguerreotype,  nor  can  I  abide  the 
photograph,"  &c.,  &;c.    "  I  must  have  a  picture  painted  by 

Mr ;  his  likenesses  are  beautiful !"     And  yet  this 

very  artist  depends  upon  and  idealizes  the  best  daguer- 
reotype or  photograph  he  can  get  taken, — merely,  as  he 


94  THE  CAMERA  AND  THE  PENCIL. 

will  saj,  to  save  trouble  to  the  sitter  and  time  for 
himself ! 

All  portraitive  artists  are  liable  to  meet  with  eccentric 
persons  like  the  above,  and  should  deal  with  them  good- 
humoredly  and  philosophically. 

If  the  artist  has  shrewdness  and  tact,  he  will  be  care- 
ful to  exhibit  a  new  portrait  of  one  who  may  be  disposed 
to  fault-finding  ^irs^  to  a  friend,  or  to  some  third  person, 
who  will  be  likely  to  speak  favorably  of  it,  at  first  sight, 
and  influence  the  judgment  of  the  pettish,  eccentric 
individual. 

B.  E.  Haydon,  the  great  English  historic  painter, 
remarks  that  "  Amiability,  courtesy,  and  tact  were  pro- 
minent traits  in  the  character  of  Sir  Joshua  Eeynolds," — 
a  statement  illustrated  by  the  following  incident : — 

"My  portrait  is  not  at  all  liTce,  Sir  Joshua,"  said  a 
beautiful  woman  of  fashion  whom  he  had  been  painting. 
Reynolds,  bowing  low,  replied,  with  his  hand  to  his  deaf 
ear,  "I  am  delighted  that  your  grace  is  pleased  with  it." 
"Pleased  ! — I  am  really  not  at  all  pleased,"  said  she.  "I 
am  quite  delighted,"  bowed  Reynolds.  In  despair  she 
entreated  an  artist,  just  then  entering,  whom  she  knew, 
to  get  Reynolds  out  of  his  error.  This  artist  roared  in 
Sir  Joshua's  ear,  "Her  grace — does  not — think — her — 
portrait — like  !"  "  ISTot  think  it  like  ?"  replied  Reynolds. 
"  Not  like  ?"  Then,  bowing,  he  said  in  the  mildest  voice, 
as  if  he  had  now  just  heard,  "  Then,  we'll  make  it  like ! — 
we'll  make  it  like!"  This  is  an  epitome  of  his  whole 
life. 

4th.  But  let  me  not  be  misapprehended.  I  do  not 
assume  to  instruct  my  brother  heliographers,  or  my  un- 
professional readers,  how  to  express  the  various  passions. 
I  can  teach  no  man  how  to  invent.  I  will  say,  however, 
that  he,  whose  eye  and  hand  are  obedient  to  his  concep- 


THE  HELIOGKAPHIC  ARTIST  AND  HIS  SITTERS.  95 

tions,  may  easily  wear  a  smile  upon  his  face,  exchange 
a  lively  word  with  both  old  and  young,  and  yet  not  be 
rude ;  and  occasionally  exchange  little  graceful  acts  of 
politeness  which  may  arrest  and  charm  the  eyes  of  the 
recipient,  and  still  not  be  intrusive.  If  he  knows  his 
own  place  and  keeps  it,  such  familiarity  will  breed  not 
contempt,  but  confidence. 

A  genuine,  soul- originated  smile  on  the  face  of  the 
artist  is  more  than  likely  to  summon  a  corresponding 
smile  into  the  face  of  the  sitter,  and  the  power  of  a  smile 
to  give  attractiveness  to  a  portrait  is  more  easily  per 
ceived  than  described. 

A  modern  writer  says,  "  Smiles  and  speech  are  cha- 
racteristic of  man,  and  are  bestowed  upon  him  to  ex- 
press thought  and  affection." 

"  A  beautiful  smile  is  to  the  female  countenance  what 
the  sunbeam  is  to  the  landscape.  It  embellishes  an 
inferior  face,  and  redeems  an  ugly  one.  A  smile,  how- 
ever, should  not  become  habitual;  insipidity  is  the 
result ;  nor  should  the  mouth  break  into  a  smile  on  one 
side,  the  other  remaining  passive  and  unmoved ;  for  this 
imparts  an  air  of  deceit  and  grotesqueness  to  the  face. 
A  disagreeable  smile  distorts  the  line  of  beauty,  and  is 
more  repulsive  than  a  frown.  There  are  many  kinds  of 
smiles,  each  having  a  distinctive  character ;  some  an- 
nounce goodness  and  sweetness,  others  betray  sarcasm, 
bitterness,  and  pride;  some  soften  the  countenance  by 
their  languishing  tenderness,  others  brighten  by  their 
brilliant  and  spiritual  vivacity.  Gazing  and  peering 
before  a  mirror  cannot  aid  in  acquiring  beautiful  smiles 
half  so  well  as  to  turn  the  gaze  inward,  to  watch  that 
the  heart  keeps  unsullied  from  the  reflection  of  evil,  illu- 
mined and  beautified  by  sweet  thoughts." 


CHAPTER  IX. 

SITTING-EOOM — SKY-LIGHT — OUT-DOOR  VIEWS;  ETC.,  ETC. 

Diffused  light  essential — Angle  for  falling  rays — Upper  story  best — Side  and 
sky-light — Size  and  arrangement  of  the  latter — Preparations  for  cloudy 
weather — Curtains,  and  their  disposition — Out-door  views,  and  their  condi- 
tions— Heliographers  should  study  the  best  paintings,  <fcc. — Examples — 
Miscellaneous  directions. 

As  our  pictures  are  produced  by  means  of  tlie  sun- 
beam, tbe  sitting-room  should  be  so  constructed  as  to 
furnisb  a  diffused  ligbt,  whereby  the  object,  animate  or 
inanimate,  may  be  illumined  completely,  i.  e.  lighted  up  on 
all  sides;  while  the  principal  mass  of  the  rays  should 
fall  in  such  manner  and  with  such  degree  of  power,  as 
to  give  clearly  defined  shadows  at  an  angle  of  about  45°, 
or  more  or  less,  as  circumstances  may  require.  By  this 
disposal  of  the  light,  and  this  arrangement  of  the  room, 
the  highest  artistic  effect  is  attained,  and  the  utmost 
possible  excellence  may  be  imparted  to  the  picture. 

My  personal  observation  and  experimentation  have 
assured  me  as  to  the  expediency  of  the  following  plan 
for  the  light  of  a  heliographic  sitting  room. 

Thus,  the  topmost  apartment  of  a  building  should  be 
secured,  having  an  unobstructed  northern  or  north-western 
exposure,  together  with  perfect  facilities  for  communica- 
ting with  the  street.  A  second-floor  room  for  heliographic 
uses  is  preferable  to  one  on  the  ground-floor,  because 

free  from  damp,  and  less  affected  by  changes  of  weather. 

(96) 


SITTING-KOOM,  SKY-LIGHT,  ETC.  97 

Its  easier  accessibility,  too,  makes  it  preferable  to  a  fourth 
or  fifth  story  room. 

SIDE-LIGHT  ANU  SKY-LIGHT  COMBINED. 

If  an  attic  is  to  be  used  as  a  sitting-room,  I  would 
advise  the  construction  of  a  side  or  a  front  light  equally 
wide  with  the  sky -light,  and  facing,  if  practicable,  the 
north  or  the  north-west. 

When  the  room  is  spacious  enough  to  allow  the  using 
of  long-focussed  lenses,  a  sky-light  placed  above  its 
centre,  at  the  north  end,  12  or  14  or  15  feet  wide,  by  14 
or  16  or  18  feet  long,  with  the  front  or  side  light  uniting 
with  the  top-light,  and  reaching  to  withii?  3  or  4  feet 
of  the  floor,  will  permit  the  artist  (if  large  groups  are 
to  be  taken)  to  give  his  subjects  any  position  he  may 
desire  in  the  room,  and  to  secure  any  required  effect  of 
shadow ;  since  he  is  able  to  station  the  camera  on  either 
the  right  or  the  left  of  the  subjects,  and  to  work  all 
around  the  room  by  changing  the  shades  under  the  sky- 
light, or  with  the  backs  of  the  subjects  towards  the  sun, 
i.  e.  with  a  northern  exposure, — this  attitude  being  most 
favorable  alike  for  the  subjects  themselves  and  for  fine 
effects  of  light  and  shadow. 

If  the  side  or  front  light  be  divided  into  three  windows, 
or  sash  running  up  and  down,  and  each  window  be 
double-sashed  (so  that  with  its  shades,  it  can,  if  needful, 
be  lowered  from  the  top),  with  very  narrow  casings ;  such 
windows  will  be  very  convenient  for  taking  children,  as 
well  as  for  general  uses  in  cloudy  weather,  since  the 
transparent  curtain  (and  each  window  should  have  its 
separate  shade)  can  be  so  raised  as  to  admit  side-light 
somewhat  ia  the  rear  and  on  the  background,  or  on  one 
side  of  the  subject,  when  stationed  in  the  centre  of  the 
room, — not,  of  course,  to  deaden  the  power  of  the  light 
7 


98  THE  CAMERA  AND  THE  PENCIL. 

from  above,  but  to  mellow  or  soften  down  and  to  render 
translucent  those  abrupt,  coarse,  inky  shadows  beneath 
the  brows,  nose,  and  chin,  which  are  so  objectionable  in 
many  pictures  taken  by  means  of  the  sky -light  exclu- 
sively. 

The  height  of  the  sky -light  above  the  floor  should  be 
proportioned  to  its  size.  If  large-sized,  it  may  be  10, 
12,  or  14  feet  high ;  if  small,  9  or  10  feet  will  be  prefer- 
able; especially  when  heliographic  negatives  are  to  be 
produced,  which  require  stronger  light  and  more  pro- 
tracted sittings  than  do  positives. 

Every  sky -light,  if  over  six  feet  wide,  should  have  two 
transparent  curtains  suspended  over  head  under  the  glass, 
on  wires  and  rings,  so  that  one  or  both  of  them  can  (if 
desired)  be  pushed  towards  the  front  or  side  light,  in 
order  to  obtain  good  artistic  shadows  from  above,  by 
permitting  the  light  to  fall  upon  the  subject  in  a  concen- 
trated mass, — an  arrangement  which  supplies  shadow 
sufficiently  strong  at  an  angle  of  about  45°, 

In  taking  an  out-door  view,  e.  g.  a  building,  a  land- 
scape, or  street-scene  for  the  stereoscope,  or  some  kindred 
purpose,  we  should  be  careful  to  select  the  most  appro- 
priate hour  of  the  day,  and  should  place  the  camera 
so  as  to  get  the  finest  artistic  effects  from  the  lights  and 
shadows.  A  skilful  management  of  the  lights  and 
shadows  is  also  essential  to  the  portraitist  who  would 
produce  a  well  rounded,  distinctly  "relieved,"  and  life- 
like face.  How  many  such  faces  do  we  see  at  the  doors 
and  in  the  galleries  of  the  contemporary  heliographers 
of  this  country  ?  Scarcely  one  in  the  thousand !  But, 
instead,  we  behold  flat,  meaningless  maips  of  the  face, 
with  little  or  no  shadow,  but  with  half  of  the  face  white, 
and  the  other  in  a  shadow,  flattened  through  a  side  or 
reflected  light  from  a  side  screen. 


SITTING-ROOM,  SKY-LIGHT,  ETC. 


These,  of  course,  are  made  by  dull  ignoramuses,  by 
mere  mechanism,  and  sold  by  thousands  to  the  unen- 
lightened portion  of  the  community.  Hence  the  present 
low  repute  of  our  wonder-working  art. 

The  heliographer,  whether  professional  or  amateur, 
may  learn  much  about  the  magic  eflects  of  light  and 
shadow,  as  also  derive  other  benefits,  from  carefully 
studying  the  paintings,  engravings,  &c.,  of  eminent  artists, 
as,  for  example,  ''The  Women  of  Shakspeare,"  "The 
Beauties  of  Moore,"  the  productions  of  Finden,  Heath, 
&c.  It  would  be  profitable  especially  to  study  the  engra- 
ving of  Da  Yinci's  "Lord's  Supper;"  to  note  how  much 
is  expressed  by  the  arrangement  and  posture  of  each 
figure ;  and  most  of  all,  by  each  face,  in  which  one  may 
almost  read  the  thoughts  agitated  within,  and  the  words 
about  to  break  forth. 

What,  by  these  artists,  is  done  by  other  means,  the 
heliographer  should  aim  to  effect  by  the  camera,  and  if 
he  have  genius  and  skill  sufficient  to  call  into  use  all  the 
powers  of  this  instrument,  he  may  produce  pictures  not 
less  true  to  nature  than  those  above  specified. 

Good  small  single  portraits ;  or  those  with  the  head 
and  bust ;  or  those  in  the  crayon  or  vignette  style,  may 
be  taken  at  a  tolerably  sized  high  side-light  window,  if 
the  lights  and  shadows  are  skilfully  managed,  with  the 
aid  of  transparent  curtains  to  soften  the  light  below,  and 
with  side  reflections,  if  used  at  all,  kept  at  proper  dis- 
tance. 

K  only  a  side-light  window  can  be  had,  or  a  side  and 
top  light  combined,  it  should  be  6  or  8  feet  wide,  and  10 
or  12  or  15  feet  high.  Such  a  light  can  be  advantage- 
ously used  in  taking  single  portraits,  or  groups  of  two 
or  three. 

If  the  whole  light  miist  come  through  a  flat  roof  above 


100  THE  CAMERA  AND  THE  PENCIL. 

the  middle  of  the  room,  the  window  should  be  at  least 
10  or  12  feet  wide,  and  16  or  20  feet  long,  and  built 
according  to  the  directions  in  "  side-light  and  sky-light 
combined,"  not  flat,  but  roof-like — i.  e.  in  three  sashes, 
one  pitching  east,  one  west,  and  one  north.  This  will 
bring  the  light  nearer  to  the  floor  and  stronger  at  the 
sides,  and  will  also  light  up  a  group  of  several,  clearly 
at  both  extremes  or  sides  of  the  room,  as  well  as  in  the 
middle  of  the  picture ;  and  will  enable  the  artist  to  place 
the  back  of  the  sitter  towards  the  south-east  in  the  morn- 
ing, and  the  south-west  in  the  afternoon — such  being  the 
best  arrangement  of  the  light  for  the  eyes  and  face. 

The  panes  of  glass  should  be  16  by  20  inches  in  size, 
and  ground  on  the  under  side,  if  not  protected  from  the 
sun ;  having  their  lower  ends  lapping  at  least  one  inch 
over  the  upper  ends  of  those  below  them,  and  being  set 
in  thin  putty  and  paint.  The  lower  end  of  each  pane 
should  be  kept  separated  from  the  pane  below  it,  by 
resting  upon  trammel-hook  wires,  hooked  over  the  ends 
of  each  pane, — an  arrangement  which  will  keep  each  in 
its  place,  and  allow  the  air  to  circulate  between  the  panes, 
— thus  preventing  capillary  attraction,  which  causes 
tight- set  glass  roofs  to  leak. 

The  ceiling  should  be  "  flared"  away  5  or  6  feet  back 
into  the  room  east,  south,  and  west  (if  the  room  faces 
north  and  south),  so  that  the  rays  may  fall  on  the  floor, 
or  the  sitter,  7  or  8  feet  back  of  the  opening  above. 
By  this  means,  a  well-defined,  mild  light  is  thrown  upon 
the  sitter,  or  group  of  sitters,  if  placed  a  little  away 
from  beneath  the  opening  above,  clearly  illuminating 
alike  the  head,  the  figure,  and  the  dress.  Care  should 
be  used  that  the  light  be  not  brilliant  or  dazzling,  but 
mild  and  soft,  as  well  as  clear,  and  so  falling  as  to  make 


SITTING-ROOM,  SKY-LIGHT,  ETC.  101 

well-defined,  transparent  shadows,  especially  under  the 
brows,  nose,  and  chin. 

The  "  high  lights"  should  be  distinctly  located  on  the 
forehead,  nose,  cheeks,  and  chin;  and  broad,  flat  lights 
and  shadows  avoided.  The  high  lights,  the  shadows, 
and  the  middle  tints  should  be,  especially  on  the  face,  in 
perfect  harmony. 

The  walls  of  the  heliographic  sitting-room  should  be 
painted  or  papered  with  a  warm  light-blue,  or  straw,  or 
cinnamon  color,  while  the  floor  should  be  covered  with 
a  light  carpet.  This  arrangement  will  tend  to  diffuse  a 
mild,  agreeable,  uniform  light  throughout  the  apartment. 

For  an  artist's  painting-room,  a  dark-slate,  or  dark- 
cinnamon,  or  brown  is  more  suitable,  as  these  colors 
absorb,  instead  of  reflecting,  the  light. 

Finally,  special  care  should  be  taken  that  the  sitting- 
room  be  appropriately  and  neatly  fitted  up,  and  supplied 
with  every  convenience  for  the  business,  as  well  as  com- 
fort for  sitters  and  visitors ;  and  be  kept  during  the  day 
in  perfect  order.  The  instruments,  headrests,  chairs, 
screens,  backgrounds,  &c.,  should  be  fixed  in  their  proper 
places  after  each  party  has  left  the  room,  that  all  things 
may  be  pleasant  to  the  eye  of  the  next  sitter,  and  calcu- 
lated to  awaken  agreeable  feelings. 

The  same  good  order  should  prevail  throughout  the 
chemical  room,  which  should  be  so  arranged,  as  to 
prevent  all  fumes  of  chemicals  from  reaching  and  annoy- 
ing visitors  to  the  apartments. 

POETRAITS  OF  CHILDEEN. 

In  cloudy  weather,  or  while  taking  children,  both  top- 
shades  may  be  pushed  up  to  the  front,  while  the  side- 
light shades   are   raised,    or   (what   is   better)   lowered 


102         THE  CAMERA  AND  THE  PENCIL. 

from  the  top.  Impressions  may  thus  be  caught  in  a  few 
seconds. 

This  process,  however,  involves  a  considerable  sacri- 
fice, through  the  necessity  of  broad  light,  as  well  as  of 
seizing  the  impression  almost  instantly. 

Such  pictures,  though  not  very  creditable  to  the  helio- 
grapher,  regarded  solely  as  specimens  of  art,  are,  never- 
theless, if  perfectly  truthful,  highly  acceptable  to 
parents ;  and,  when  the  loved  originals  are  deceased,  are 
deemed  invaluable. 

It  is,  then,  the  interest  of  the  artist,  if  not  his  duty,  to 
secure  the  most  faithful  impressions  possible  of  these 
little  ones,  even  though  such  may  be  lacking  in  mere 
artistic  merit. 

However  difficult  of  management  children  may  be,  no 
effort  should  be  spared  for  producing  a  pleasing  picture 
of  them.  ISTor  should  any  time  devoted  to  this  object  be 
regarded  as  lost.  Therefore,  I  would  advise  the  operant 
to  indulge  and  play  with  them,  and  strive  thus  to  win 
their  confidence  and  good-will.  These,  with  a  little  tact, 
he  will  rarely  fail  to  gain,  and  in  this  way  will  both 
please  the  fond  parents  and  enhance  his  own  reputation. 
But  if,  taking  the  opposite  course,  he  manifests  a  morose 
or  irritable  temper,  he  will  assuredly  forfeit  his  "  good 
name,"  even  though  he  may  occasionally  produce  a  cre- 
ditable picture. 

It  may  not  be  irrelevant  to  this  topic  to  recite  an  inci- 
dent of  my  own  experience. 

I  once  permitted  my  temper,  which  is  generally  under 
command,  to  be  ruffled  by  the  slight  of  a  "  sitting"  child. 
He  was  the  only  son  of  an  authoress  as  intelligent  and 
amiable  as  she  is  widely  popular.*  Losing  patience,  after 
several  unsuccessful  trials,  and  scarcely  aware  of  what  I 

*  The  late  Mrs.  Alice  B.  Haven,  formerly  Mrs.  J.  C.  Neal. 


SITTING-ROOM,  SKY-LIGHT,  ETC.  103 

did,  I  hastily  tapped  the  boy's  hand  with  my  fingers' 
ends,  while  fixing  upon  him  a  stern  look. 

He  gazed  an  instant  in  my  face ;  the  tears  started ;  his 
heart  seemed  broken. 

The  mother  calmly  remarked,  "  This  is  the  first  time 
he  was  ever  chastised  or  spoken  to  severely." 

Her  mild,  gentle  tones  in  addressing  first  myself,  and 
then  her  boy,  administered  a  rebuke  to  me  which,  I 
think,  will  never  be  forgotten,  or  cease  to  have  a  prac- 
tical influence.  I  trust,  too,  that  the  record  of  this  simple 
incident  may  be  of  service  to  all  who  read  it  and  manage 
the  camera  in  taking  the  portraits  of  young  children. 

Impartial  justice  to  myself,  however,  requires  that  I 
should  state  why  I  acted  as  I  did  in  this  case.  Both 
before  commencing  operations  and  while  engaged  therein, 
I  was  assured  by  the  lady  that,  unless  the  picture  was 
faultless,  unless  it  was  felicitous  in  arrangement  and  per- 
fect in  expression,  she  must  decline  accepting  it.  Acting 
under  these  instructions,  I  was,  of  course,  unusually 
anxious  to  succeed  ;  for,  over  and  above  pecuniary  con- 
siderations, my  repute  as  an  artist  was  at  stake. 

Eepeated  trials  had  been  defeated  by  the  refractoriness 
of  the  boy.  For,  in  defiance  of  his  mother's  injunctions, 
he  kept  incessantly  changing  his  position,  nor  were  my 
own  entreaties  of  any  more  avail.  Moreover,  he  was 
monopolizing  my  time ;  and  several  other  persons  were 
impatiently  waiting,  and  threatening  to  leave.  As  a 
final  resort,  I  adopted  the  authoritative  mode,  as  I  had, 
with  others,  been  accustomed  to  do  successfully. 

But  ever  after  my  failure  here,  I  made  it  a  point  (as  in 
fact  I  always  had  done  previously),  to  go  directly  to  the 
child,  and  talk  and  play  familiarly  with  him,  and,  if  pos- 
sible, to  put  some   amusing  or  pleasant  object   in   his 


104  THE  CAMERA  AND  THE  PENCIL. 

hands ;  assuring  him,  by  these  various  means,  that  I  was 
friendly,  and  that  my  purpose  was  to  give  him  pleasure, 
and  not  in  any  way  to  harm  him.  By  this  method  of 
proceeding,  I  almost  invariably  obtained  a  good  picture 
of  a  child. 


CHAPTEE  X. 

HINTS  UPON  SITTING — ^EASE  AND  GRACE  IN  A  PORTRAIT. 

The  attitude  should  be  chosen  by  the  operant — What  it  should  be — Manage- 
ment of  lights  and  shadows — Legs  of  gentlemen  and  hands  of  ladies,  how 
placed — How  to  take  certain  faces — Directions  about  colors — Useless  acces- 
sories to  be  avoided — Mode  of  ameliorating  blemishes — Groups,  &c. 

As  frequently  intimated  elsewhere  in  this  treatise,  the 
proper  attitude  of  a  person  sitting  for  a  portrait  should 
be  left,  mainly  at  least,  to  the  judgment  and  taste  of  the 
heliographic  operant.  At  the  same  time  it  may  be 
policy,  as  well  as  courtesy,  to  ask  intelligent  sitters 
whether  they  have  a  preference  for  any  special  view  of 
the  face,  post  are,  arrangement,  &c. ;  and,  if  so,  to  inform 
them  what  artistic  experience  has  shown  to  be  intrinsic- 
ally best,  subjoining  the  reasons  why. 

The  sitter's  position  should  be  unconstrained  and  per- 
fectly easy,  the  hands  and  feet  neither  projecting  too 
much,  nor  drawn  too  far  back,  but  placed  in  the  focus 
of  the  instrument,  or  nearly  so. 

The  sitter's  age  should  also  be  considered.  For  ex- 
ample, the  appearance  of  the  elderly  should  be  calm  and 
sedate,  instead  of  spirited;  while  the  young,  of  either 
sex,  should  express,  by  the  position  of  the  head  and  face, 
energy  of  thought,  feeling,  and  action,  rather  than  a 
grave,  meditative  cast  of  mind,  unless  where  they  are 
specially  moved  and  interested. 

The  head  should  be  easily  and  gracefully  turned  to 

(105) 


106  THE  CAMERA  AND  THE  PENCIL. 

fhe  right  or  the  left, — not  too  higli  or  too  low,  but  so  as 
to  express  intellect  or  meaning  in  lieu  of  constraint. 
Especially  should  be  avoided  that  appearance  of  a  spas- 
modic twist  of  the  head,  or  jerk  of  the  neck-muscles, 
which  are  found  in  the  portraits  of  some  operators,  whose 
conceit  is  quite  as  manifest  as  their  artistic  knowledge 
and  skill ! 

The  eyes  should  be  directed  a  little  farther  to  the  left 
or  right,  than  the  face,  and  if  a  front  view  be  taken,  to 
some  object  above  or  near  the  camera,  in  a  nearly  front 
direction  from  the  face,  if  the  color  or  shape  of  the  eyes 
will  admit ;  but  rarely  toward  the  lens  or  tube,  as  the 
face  would  thus  take  on  a  stare  or  a  dissatisfied  or  dolorous 
look. 

The  lights  and  shadows  on  the  face,  or  other  parts  of 
the  picture,  must  be  managed  with  the  greatest  care,  in 
order  to  produce  rotundity,  relief,  harmony,  and  life-like 
effect.  When  the  broad  or  short  side  of  the  face  is  mostly 
in  shadow,  the  shaded  cheek  should,  if  possible,  be  tipped 
with  light,  to  give  it  a  pleasing  fulness  and  natural-seem- 
ing roundness. 

If  portraying  a  gentleman  cross-legged,  avoid  all  long, 
straight  lines  or  right  angles,  and  do  not  throw  the  limb 
nearest  the  camera  over  the  other,  but  vice  versa. 

The  hands  of  a  lady  may  rest  easily  upon  the  lap,  and 
should  be  presented  edgewise,  neither  too  high  nor  too 
low,  which  will  give  them  a  small,  delicate  appearance. 
Or  one  hand  or  arm  may  be  laid  upon  a  table,  while  the 
other  hand  may  hold  a  book  or  some  other  object,  if  the 
sitter  so  choose.  For  myself,  however,  I  think  a  pretty 
hand  is  much  the  prettiest  when  empty.     [See  plate.'] 

A  thick  hand  should  shqw  the  thumb  in  the  fore- 
ground, with  the  fingers  bent  a  little  inward;  while  a 
long  hand  had  best  exhibit  its  back.     A  handsomely 


HINTS  UPOjST  sitting,  107 

shaped  hand,  neither  too  long  nor  too  short,  should  dis- 
play fall  two-thirds  of  itself,  with  the  fingers  hanging 
easily  and  gracefully  down, 

A  sliglit  bending  of  the  body  forward  and  to  one  side 
will,  by  its  graceful  appearance,  produce  a  good  artistic 
effect. 

If  a  shawl,  or  boa,  or  like  article  of  dress,  be  thrown 
lightly  over  the  shoulders,  and  tastefully  disposed,  so  as 
to  hide  some  defect,  and  distribute  light  and  shadow 
properly,  it  will  generally  serve  to  balance  other  parts. 
and  thereby  make  the  entire  impression  agreeable. 

The  portrait  of  a  full,  round  face,  with  small  eyes  and 
nose  and  large  mouth,  should  be  taken  in  nearly  half- 
profile,  so  as  to  show  one  side  of  the  face  in  full,  with 
very  little  of  the  other  side. 

A  face  of  moderate  fulness,  with  aquiline  nose  and 
handsome  ej'^es  and  mouth,  should  be  taken  in  three- 
fourths  profile ;  while  one  having  strongly  pronounced 
features,  should  be  presented  nearly  full  in  front  view. 

If  in  the  same  picture  two  persons  are  to  be  portrayed, 
both  sitting,  the  one  should  be  represented  as  leaning 
lightly  on  the  other's  chair,  and  the  face  of  each  should 
be  turned  partly  towards  the  other,  as  if  a  conversation 
was  going  on.  Or  they  may  be  placed  opposite  to  each 
other  at  a  table,  the  one  with  the  right  and  the  other 
with  the  left  arm  resting  thereon,  and  the  persons  of  both 
gently  bending  towards  each  other,  as  though  they  were 
conversing ;  or  one  may  be  seated,  while  the  other  stands 
nigh  him,  leaning  familiarly  on  the  latter's  shoulder  or 
chair- back. 

Again,  the  arrangement  of  family  groups  should,  save 
in  exceptional  cases,  be  surrendered  wholly  to  the  judg- 
ment of  the  intelligent  and  skilful  artist.     Care,  how- 


108         THE  CAMEEA  AND  THE  PENCIL. 

ever,  should  always  be  taken  to  station  the  several  per- 
sons of  the  group  all  at  the  same  focal  distance. 

As  regards  dress,  vivid  colors  and  intensely  illumined 
objects  should  uniformly  be  avoided.  This  monition 
applies  more  especially  to  white,  yellow,  light-blue,  and 
scarlet.  Plain-colored  dresses,  neither  too  light  nor  too 
dark,  are  most  appropriate,  and  always  furnish  the  most 
pleasing  heliographs. 

The  sitter  should  be  so  placed  in  the  room  as  to  pro- 
ject short  shadows ;  the  light  being  sufficiently  subdued 
to  preserve  the  half-tints,  while  the  time  of  exposure 
is  long  enough  simply  to  develope  the  image  completely, 
without,  meanwhile,  "overdoing,"  {i.  e.  solarizing)  or  flat- 
tening the  pictures. 

So,  too,  all  strong  cross-lights  and  reflections  should 
be  carefully  avoided,  and  special  pains  taken  to  impart 
the  utmost  rotundity,  boldness,  and  force  to  all  portions 
of  the  figure. 

USELESS  AND  OFFENSIVE  ACCESSORIES  IN  A  PORTRAIT. 

Hands,  hats,  and  numerous  other  accompaniments,  e.  g. 
landscape  or  fancy  back-grounds,  curtains,  &c.,  should 
(in  my  opinion)  be  rigorously  banished  from  the  picture, 
as  tending  to  impair  the  likeness.  So  a  high  chair-back 
behind  the  head  both  interferes  (I  think)  with  the  effect 
of  the  face,  and  offends  correct  taste.  Whereas,  a  low 
chair-back,  with  one  side  in  view  and  in  focus,  is  not 
only  far  more  appropriate,  but  proves,  not  unfrequently, 
a  valuable  accessory. 

VIGNETTE  OR  CRAYON  STYLE. 

A  vignette  portrait,  i.  e.  the  head  and  shoulders  in  the 
crayon  style,  I  generally  find  more  pleasing  to  the  true 
artist  and   connoisseur,  than  either  full-length  or  half 


by  M'A-Root. 


HINTS  UPON  SITTING.  109 

figures.  The  apparent  size  of  the  head  can  be  augmented 
by  placing  it  somewhat  above  the  middle  of  the  plate; 
and  as  the  image  is  produced  by  the  centre  of  the  lenses, 
there  is  less  liability  to  distortion  in  it.  So  that  if  proper 
heed  be  given  to  the  subject's  posture,  and  a  suitable 
arrangement  of  light  and  shadow  be  made,  a  vignette 
portrait  may  be  rendered  more  truthful,  life-like,  and 
artistically  effective,  than  one  wherein  the  head  sur- 
mounts a  half  or  a  full-length  figure. 

Although,  then,  there  are  many  subjects  who,  when 
left  to  their  own  selection,  are  apt  to  insist  upon  having 
a  half  or  whole  length,  with  both  hands  introduced,  yet 
the  true  artist,  for  the  credit  of  both  himself  and  his  art, 
will  recommend  the  vignette,  which  (as  above  stated) 
comprises  the  head  alone,  or  head  and  shoulders  merely. 

POSTURE,  ETC.,  ETC. 

Stuart,  the  eminent  portraitist,  like  Eeynolds,  Law- 
rence, and  other  distinguished  artists  of  recent  date, 
usually  gave  to  his  pictures  a  wide  margin ;  making  the 
head,  the  figure,  and  the  entire  portrait  proportionate 
in  size  to  the  balk  of  the  individual  and  the  superficies 
of  the  canvas. 

In  representing  a  head  and  bust  merely,  the  chin 
should  be  placed  slightly  above  the  centre  of  the  picture, 
while  the  eye  nearest  the  spectator  in  a  three-quarters 
face  is  generally  midway  in  the  breadth  of  the  picture. 

The  heliographer  who  possesses  correct  judgment  and 
taste,  combined  with  proper  feeling,  while  earnestly 
striving  to  secure  the  most  truthful  expression  of  his 
subject's  face,  as  seen  in  repose,  will  meanwhile  also  note 
critically  all  the  important  points,  which  may  serve  to 
communicate  to  his  picture  genuine  artistic  effect. 

A  profile,  or  a  two-thirds  or  three-quarters  face,  should 


110         THE  CAMEEA  AND  THE  PENCIL. 

have  at  least  as  broad  a  margin  before  tbe  face,  as 
behind  the  bead,  and  not  unfrequently  a  broader  one. 

As  a  faithful  likeness  is  the  chief  desideratum  in 
portraiture,  the  mere  head  and  bust  are  preferable  to  a 
larger  proportion  of  the  figure,  or  one  including  either 
or  both  of  the  hands. 

In  sum,  the  picture  should  embrace  not  much  over 
half  the  length  of  the  body ;  though  it  should,  if  practi- 
cable, when  more  than  the  head  is  taken,  indicate  the 
breadth  across  the  shoulders,  with  the  relative  size  of 
the  body,  when  the  portrait  is  set  in  an  oval  "mat,"  or 
"  spangel," 

Artists  generally  prefer  painting  short  shadows  on 
the  narrow  side  of  the  face  in  a  two-thirds  or  three-fourths 
view.  This  arrangement  succeeds,  for  the  most  part,  in 
producing  an  agreeable  picture. 

Occasionally  we  encounter  an  admirer  of  Eembrandt's 
or  Yan  Dyck's  manner,  wherein  the  shadows  are  so 
broad  and  strong,  as  to  shade  deeply  nearly  half  the  face. 
Unfortunately,  however,  for  the  heliographer,  most  of 
his  patrons,  like  England's  "Queen  Bess,"  prefer  "pic- 
tures without  any  shadow  at  all !" 

If  you  would  give  to  a  spare,  thin  face,  with  high 
cheek-bones  and  deep  wrinkles,  a  fuller,  younger,  and 
more  attractive  appearance,  you  must  reverse  the  general 
rule. 

Thus,  to  impart  to  the  face  and  head  the  utmost  possible 
boldness,  energy,  rotundity,  &c.,  place  the  subject  so  that 
in  a  two-thirds  or  three-fourths  view  of  the  face,  the  face 
may,  from  the  point  of  sight,  or  eye,  or  the  part  focussed 
upon,  be  almost  totally  in  shadow ;  or  so  that  the  shadow 
may  fall  from  the  cheek-bone  backwards  towards  the  ear. 
By  this  means,  with  a  clear,  distinct  shadow  on  the  side 
of  the  nose  and  face,  and  a  soft,  mellow  light  along  the 


HINTS  UPON  SITTING.  Ill 


cheek,  a  picture  is  obtained  upon  a  flat  surface  whicli, 
wondrously  "  relieved"  from  its  background,  exhibits  all 
the  roundness  and  solidity  of  nature.  Provided,  however, 
that  the  material  and  color  of  the  background  be  favor- 
able, and  the  subject  so  placed,  that  a  suitable  tint  or 
shadow  of  the  background  may  be  had,  i.  e.,  one  which  is 
neither  too  dark  nor  too  light  to  contrast  happily  with  the 
complexion  or  the  color  of  the  hair  and  the  dress. 

For  heliographs  of  a  lady  in  a  white  or  light-colored 
dress,  the  ground  should  be  dark,  and  removed  far 
behind  the  sitter,  or  beyond  the  focus,  so  as  to  give  an 
ethereal  or  faintly  visible  appearance  to  the  ground,  and 
relief  to  the  figure.  A  lady's  white  dress,  or  collar,  or 
cape  may  be  beautifully  represented  by  covering  the 
part  exposed  in  strongest  light  with  a  black  veil,  or  piece 
of  dark  muslin,  and  cautiously  withdrawing  it  at  the  ex- 
piration of  one-third  or  one-half  the  time  of  exposure 
required  for  bringing  the  figure  fully  out ;  and  this, 
without  disturbing  the  sitter  or  stirring  the  dress. 

A  lady  or  gentleman  in  dark  dress  should  sit  before  a 
ground  somewhat  lighter  than  the  dress.  Not  too  light, 
however,  as  in  this  case  the  outline  would  be  hard  or 
sharp. 

The  color  of  the  background  may  be  of  dark  drab  or 
dark  blue  for  a  short  distance,  and  light  blue  for  a 
longer ;  or  of  a  warm,  cinnamon-colored  cloth,  with  short 
nap.  Cloth  is  better  than  painted  muslin  for  a  back- 
ground. All  these  should  be  carefully  kept  at  a  proper 
distance  from  the  sitter,  and  are  most  effective  if  kept  in 
motion  during  the  session,  as  then  seams  or  .spots  are  not. 
copied. 

The  artist,  who  is  fully  alive  to  all  the  requirements 
of  his  profession,  will  find  that  nearly  every  successive 
subject   needs    a   different    arrangement   of    light    and 


112  THE    CAMERA  AND  THE  PENCIL. 

shadow,  with  a  different  location  in  the  room,  view  of 
the  face,  &c.  Accordingly  his  genius  (for  nothing  else 
can)  will  suggest  such  a  change  in  the  position  of  the 
camera,  in  the  background,  and  in  all  other  conditions, 
as  is  required  for  the  object  aimed  at. 

And  as  the  reputation  alike  of  himself  and  his  estab- 
lishment must  rest  on  the  artistic  merits  of  his  produc- 
tions, so  every  successive  picture  is  a  proof,  patent  to  all 
capable  judges,  either  for  or  against  his  pretension  to  the 
title  of  artist. 


CHAPTEE  XI. 

THE  EYES — THEIR  LANGUAGE,  AND  HOW  TO  DEAL  WITH 

THEM. 

The  eyes  specially  important  in  a  portrait — How  to  direct  and  depict  them — 
Same  determined  by  color  and  surroundings — Catch-lights,  what,  and  for 
what  purpose. 

The  eyes,  wliich  are  most  emphatically  tlie  index  of 
the  face,  require  of  the  artist  the  most  scrupulous  atten- 
tion. Says  a  modern  writer,  "  An  eye  can  threaten  like 
the  loaded  gun,  or  can  insult  like  hissing  or  kicking ;  or 
by  beams  of  kindness  can  make  the  heart  dance  with 
joy.  There  is  an  honesty  in  the  eye  in  which  the  mouth 
does  not  participate.  'The  artist,'  said  Michael  Angelo, 
'  must  have  his  measure  in  his  eye.'  Eyes  are  bold  as 
lions — bold,  running,  leaping.  They  speak  all  lan- 
guages ;  they  need  no  encyclopedia  to  aid  in  the  inter- 
pretation of  their  language;  they  respect  neither  rank 
nor  fortune,  virtue  nor  sex,  but  they  go  through  and 
through  you  in  a  moment  of  time. 

"  Vain  and  forgotten  are  all  the  fine  offers  of  hospi- 
tality, if  there  is  no  holiday  in  the  eye.  How  many 
inclinations  are  avowed  by  the  eye,  though  the  lips  dis- 
semble !  As  soon  as  men  are  off  their  centres,  the  eyes 
show  it." 

In  order  that  they  may  wear  the  most  favorable  ex- 
pression in  a  picture,  the  proper  direction  should  be 
8  (113) 


114  THE  CAMERA.  AND  THE  PENCIL, 

givea   to  fhem.     Wliat  sucli  direction   is  to  be,   must 
depend  on  their  size,  form,  color,  &c. 

Thus,  if  thej  are  blue,  or  light,  or  weak,  thej  should 
either  be  directed  towards  a  point  somewhat  low ;  or  be 
turned  away  from  the  light  towards  a  dim  corner  of  the 
room ;  or  be  bent  upon  a  screen  covered  with  dark  green 
velvet,  or  with  some  other  cloth  non-reflective  of  light. 

If  the  eyes  are  full,  round,  or  prominent,  and  thus 
are  liable  to  catch  too  much  light,  let  them  rest  upon  or 
nigh  some  object  on  the  distant  floor,  without  strain  or 
the  least  effort,  so  as  to  give  them  a  somewhat  languid 
expression.  Let  the  sitter,  meanwhile,  be  instructed  to 
wink  his  eyes  as  often  as  inclined,  that  he  may  avoid  a. 
constrained  or  wild  look  therein.  And  to  give  the  eyes 
an  agreeable  expression,  the  ''catch -lights,"  or  white 
spots  in  them,  should  be  thrown  close  to  the  upper  lid, 
while  made  as  small  as  possible. 

These  so-named  "  catch-lights"  are  small  spots  of 
reflected  light  seen  on  all  sound  eyes,  except  when  these 
are  in  shadow.  They  serve  to  impart  to  the  eyes  a  life- 
like, bright  expression.  Yet,  I  have  known  intelligent 
persons  to  reject  portraits  which,  by  their  admission, 
were  well-nigh  faultless,  on  the  very  account  of  the  beau- 
tiful, round  "catch-lights"  on  the  eyes.  And  it  required 
no  slight  explanatory  labor  on  my  part  to  remove  this 
their  error,  and  to  convince  them  of  the  importance  of 
these  supposed  blemishes  in  giving  expression  to  the 
eyes. 

A  small  screen,  fixed  upon  a  stand-rod  with  thumb- 
screw, movable  and  elevatable,  green  or  dark  in  color, 
on  which  some  object  is  placed  for  the  subject  to  look  at, 
will  be  found  more  agreeable  to  the  eyes  than  a  screen 
of  any  other  reflective  color,  or  a  pin  or  spot  upon  the 
wall  or  other  object. 


THE  EYES.  115 


If  the  subject  lias  light  eyes,  and  desires  a  two-thirds 
or  a  three -quarters  face,  it  is  best  to  take  a  nearly  front 
view  of  the  person,  with  the  head  turned  more  or  less 
aside,  and  the  eyes  directed  towards  an  object  somewhat 
on  the  right  or  left  of  the  straight-forward  line.  The 
eye,  however,  should  not  be  turned  furtively  back 
towards  an  object  fronting  the  person,  as  if  watching  a 
pickpocket's  movements.  I  have  seen  pictures  that  sug- 
gested this  idea  so  vividly,  as  to  be  absolutely  ludi- 
crous,— e.  g.,  pictures  having  the  body  turned  one  way 
and  the  face  another,  while  the  eyes  were  pointed  back- 
wards in  a  direction  with  the  person, — and  all  this, 
strangely  enough,  in  so-styled  first-class  galleries ! 

Contrariwise,  by  making  the  position  of  the  head  in- 
termediate between  the  direction  of  the  eyes  and  that  in 
which  the  person  fronts,  that  spiral  line  is  obtained  which 
is  so  prized  in  art,  and  is  to  many  familiar  under  the 
title  of  "  Hogarth's  line  of  beauty."  The  Grreek  sculp- 
tors invariably  observed  this  line  in  attitudes  of  repose, 
by  turning  the  head  towards  the  right,  when  the  left  foot 
was  withdrawn  behind  the  other,  and  vice  versa.  They 
took  special  pains  to  procure  the  twining  spiral;  and 
this  may  be  had  even  in  a  bust-portrait,  by  turning  the 
eyes  somewhat  more  in  the  direction  whither  the  head 
points. 

If  the  eyes  are  dark,  and  a  nearly  front  view  of  the 
face  is  desired,  it  is  generally  best  to  take  a  two-thirds  or 
three-fourths  view  of  the  person,  with  the  eyes  turned 
aside  somewhat  further  than  the  face  towards  the  camera. 
Thus,  one  eye  is  brought  to  look  rather  across  the  nose, 
while  both  eyes  look  towards  the  artist,  or  the  camera, 
or  some  object  nigh  it.  In  this  way  the  subject  will 
probably  obtain  the  view  of  his  face  most  familiar  to 


116         THE  CAMEEA  AND  THE  PENCIL. 

himself,  as  being  tliat  so  often  looked  upon  in  his  mirror. 
\_See  plate.'] 

If  the  subject  has  very  light  blue  eyes,  or  light  eyes 
of  whatever  shade,  the  face  should  be  turned  partially 
away  from  the  light,  provided  the  features  will  allow  it. 
If  the  rays  come  through  a  sky -light,  let  him  be  placed 
more  directly  beneath  them,  so  that  all  the  shadows  may 
fall  more  vertically,  and  the  shadows  of  the  eyebrows 
partially  protect  the  vision.  Light  or  blue  eyes  may 
thus  be  made  to  look  dark  and  clear,  and  even  to  re- 
semble black  eyes.  Extremes,  however,  or  shadows  too 
much  elongated,  should  be  specially  avoided. 

In  that  condition  of  the  face  which  produces  in  it  the 
appearance  of  intent,  concentrated  thought,  the  eyes  do 
not  converge  to  a  focal  point,  as  when  looking  on  a  near 
object;  on  the  contrary,  they  turn  outward,  being  invol- 
untarily thrown  into  that  position  by  the  spontaneous 
action  of  the  muscles, — thus  presenting  to  the  brain  two 
different  fields  of  vision,  which,  by  producing  indistinct- 
ness, leave  the  mind  free  to  its  own  conceptions  or  medi- 
tations. 

If  the  subject  has  light,  flaxen  hair,  and  a  fair  com- 
plexion, he  should  be  stationed  further  from  the  light ; 
or  the  intenseness  of  the  light  should  be  mitigated  by 
the  elevation  or  the  lowering  of  the  window-shades.  Or 
a  thin  tissue-paper  screen  may  be  extended  above  the 
head  to  break  the  strong  light,  and  to  protect  the  hair 
and  eyes,  and  light  portions  of  the  dress,  such  as  caps, 
collars,  capes,  &c.* 

*  This  protecting  screen  may  be  made  of  thin  tissue-paper,  or  fine,  thin 
mull  muslin,  or  other  transparent  material,  stretched  upon  a  light  wire  ring 
or  frame,  or  on  an  umbrella  frame — and  suspended  some  distance  above  the 
head  of  the  sitter,  to  soften  the  light  and  protect  the  hair,  eyes,  &c. 


CHAPTEE  XII. 

SUGGESTIONS   AS    TO    DEALING   WITH    DEFECTS    AND 
BLEMISHES  IN  SITTER'S  FACE. 

How  to  deal  with  personal  defects,  e.  g.  cross-eyes,  irregular  features,  loss  of 
teeth,  &c. ;  extra  shortness  or  tallness,  thinness  or  corpulence,  imperfection 
of  nose,  forehead,  skin,  Ac. — Few  faces  of  perfect  model. 

Cross-eyed  persons  may  be  mucli  "flattered,"  and  their 
defects  greatly  meliorated  by  directing  the  eye  whicli 
turns  most  towards  the  nose,  towards  an  object  in  the 
opposite  quarter,  or  else  turning  both  eyes  towards  an 
opposite  object.  Thus,  without  the  least  impairment  of 
likeness,  the  particular  blemish  is  much  disguised,  while 
the  appearance  of  both  eyes  is  essentially  bettered. 

In  taking  persons  irregularly  featured  (and  few  are 
otherwise),  extra  care  should  be  used  to  lessen  existing 
defects ;  to  avoid  presenting  them  just  as  they  are ;  and, 
above  all,  to  take  heed  they  be  not  exaggerated. 

The  keen  observant  will  notice  that  many  persons, 
when  laughing,  smiling,  or  even  speaking,  use  the 
muscles  of  one  side  of  the  face  more  than  those  of  the 
other.  Persons,  however,  who,  in  their  various  expres- 
sions, use  the  muscles  of  one  side  of  the  face  more  than 
those  of  the  other,  have  no  real  ground  of  dissatisfaction, 
when  they  see  this  reality  portrayed  in  a  picture ;  since 
it  is  a  fact  that  most  persons,  with  faces  perfectly  sym- 
metrical, are  devoid  of  any  marked  mental  character.  A 
silly,  meaningless  smile  is  one  in  which  both  corners  of 

(117) 


118         THE  CAMEEA  AND  THE  PENCIL. 

the  moutli  are  equally  elevated,  as  if  drawn  up  by  a  cord 
attached  to  the  ears. 

Again,  from  the  loss  of  teeth,  or  some  casualty,  one 
side  of  the  face  may  be  longer  than  the  other.  To  dis- 
guise this  defect  in  the  portrait,  let  the  longer  side  be 
placed  nighest  the  camera,  whereby  the  parts  beyond  the 
point  or  objects  focussed  upon  are  naturally  somewhat 
magnified ;  since  the  lines  issuing  from  the  point  focussed 
upon  (unlike  those  in  perspective,  which  converge  to  a 
point),  diverge  in  directions  corresponding  to  the  curves 
of  the  lenses.  By  this  means  the  aspect  of  the  features 
on  the  shorter  side  of  the  face  may  be  perceptibly  magni- 
fied, and  thus  improved  in  appearance,  without  injury  to 
the  likeness.  Whereas  by  the  opposite  course  the  defect 
will  be  exaggerated.     \_See  engravings.'] 

A  perfect  face  is  extremely  rare.  Yet  in  every  face 
there  is  some  single  view  which  is  preferable  to  any 
other.  The  eye  of  an  accomplished  artist  will,  almost 
instantly,  select  that  view  which  produces  the  most 
attractive  portrait. 

Thus,  if  the  nose  be  very  full  or  crooked  on  one  side ; 
or  if  the  mouth  be  awry,  or  otherwise  out  of  symmetry ; 
or  if  one  eye  be  weak  or  contracted,  or  more  prominent 
than  the  other  :  these  blemishes  may  be  partially  neutral- 
ized by  selecting  the  most  favorable  aspect  of  the  face, 
while  the  likeness  is  thus  improved,  instead  of  impaired. 
■  If  the  subject  be  blind  in  one  eye,  the  defect  may  be 
partially  concealed,  and  yet  an  exact  likeness  secured,  by 
taking  a  two-thirds  or  three-fourths  view  of  the  face,  or 
perhaps  even  a  profile  view.  Of  course  the  most  intelli- 
gent view  should  be  gotten  which  is  compatible  with 
securing  the  truthfulness  of  each  feature. 

Half-length  figures,  v/ith  one  or  both  of  the  hands  dis- 
played, are  appropriate  for  gentlemen  sometimes,  and  for 


I 


1 


^ 


^ 


DEFECTS  AND  BLEMISHES  IN  SITTEE'S  FACE.  119 

ladies  almost  always.  And,  for  a  large-sized  lady,  a 
three-fourths  or  fall  length,  by  diminishing  the  apparent 
volume  of  the  figure,  is  frequently  more  acceptable  to 
her  than  a  mere  half-length. 

A  little  "flattery,"  so  named,  is  relished  by  most  men, 
and  even  by  som^e  women.  If,  then,  without  impairing 
either  the  likeness,  or  the  artistic  excellence  of  the  picture, 
or  compromising  our  professional  repute,  we  can  please 
our  subjects  by  "flattering"  them  somewhat  in  respect  to 
these  minor  points,  which  do,  after  all,  essentially  aid  in 
"  making  up"  the  picture,  our  efforts  to  please  will,  most 
probably,  secure  a  twofold  remuneration,  in  extended 
popularity  and  augmented  custom. 

The  obese  person  seldom,  if  ever,  objects  to  being 
represented  as  something  less  in  bulk ;  or  the  small-sized 
one  to  appearing  a  trifle  larger  than  the  reality. 

So  the  individual  of  extra  height  and  thinness  would 
be  depicted,  as  somewhat  shorter  and  ampler ;  the  short- 
necked,  dumpy  one,  as  a  little  taller ;  and  the  aged,  care- 
worn, visage-furrowed  sire,  or  grandsire,  as  a  few  years 
younger.  While,  therefore,  ever  adhering  to  fidelity  in 
representation,  a  moderate  heed  to  the  "  art  of  pleasing" 
may  foster  our  pecuniary  interests  without  detriment  to 
any  interest  beside. 

If  the  subject  be  decidedly  corpulent,  the  posture 
should  be  more  erect,  or  somewhat  forward-leaning,  or 
else  inclining  slightly  to  the  right  or  the  left ;  so  that 
the  face,  when  in  the  focus  of  the  lenses,  may  be  nearly 
as  far  towards  the  front,  as  is  the  dress.  Thus  may  be 
avoided  the  undue  magnifying  of  the  chest  or  of  the 
general  figure.  Generally  a  two-thirds  view  of  the 
figure  and  a  nearly  front  view  of  the  face  of  a  bulky 
subject,  with  the  eyes  directed  towards  the  camera,  and 


120  THE  CAMEEA  AND  THE  PENCIL. 

with  short  shadows,  will  be  likelier  than  any  other  to 
prove  acceptable.     [See  ;platei\ 

A  tall,  slender  person  may  secure  an  aspect  of  ease 
and  grace  by  inclining  somewhat  towards  the  left  or 
right,  or  by  bending  a  little  backward,  or  by  sitting  low  in 
his  seat.  The  favorable  appearance  of  a  picture  depends 
much  on  an  attention  to  these  minutiae. 

In  representing  the  head  and  bust  of  a  large  person,  the 
camera  should  be  nearly,  if  not  quite,  level  with  the  chin. 

Portrait  painters  commonly  place  the  subject  on  a 
platform  or  seat,  a  few  inches  higher  than  their  own. 
The  heliographer  should  either  raise  or  depress  his 
camera  to  attain  the  same  results,  and  avoid  foreshort- 
ening the  face. 

When  the  subject  has  a  short  nose,  or  one  having, 
like  Clay's,  a  short  ridge  but  a  long  base,  and  thus 
exhibiting  the  nostrils  to  an  unUsual  extent,  special  care 
should  be  taken  to  avoid  magnifying  this  blemish,  or 
foreshortening  the  nose  or  face.  On  the  contrary,  the 
camera  should  be  elevated  as  high  as  the  middle  of  the 
face,  while  the  chin  is  dropped  a  little  down  towards  the 
chest,  though  not  so  far  as  to  compress  the  muscles  of  the 
cheeks  or  neck.  Meanwhile,  let  the  artist  strive  to 
secure  the  utmost  freedom  and  ease  by  loosening  the  sit- 
ter's cravat,  by  giving  to  his  head  the  most  unconstrained 
position  possible,  &c. 

If  the  subject  has  a  long  or  a  Eoman  nose,  a  two-thirds 
or  a  three-quarters  face,  with  the  head  somewhat  raised 
and  the  camera  somewhat  lowered,  in  order  to  show  best 
the  nasal  cartilage,  will  generally  give  the  most  truthful 
likeness,  while  not  distorting  but  rather  flattering  the 
picture.  By  this  management  the  too  prominent  is 
diminished  in  appearance  without  either  impairing  the 
resemblance,  or  exaggerating  the  irregular  features. 


DEFECTS  AND  BLEMISHES  IN  SITTEK's  FACE.  121 


If  the  subject's  head  is  broad,  high,  and  intellectual, 
while  the  lower  part  of  the  face  is  thin,  the  camera  maj 
be  placed  slightly  lower  than  the  chin,  and  the  head 
thrown  a  little  upward.  But  if  the  head  be  small,  while 
the  inferior  portion  of  the  face  is  full  and  heavy,  and  the 
person  generally  corpulent,  the  camera  should  be  ele- 
vated, while  the  head  is  brought,  and  the  whole  person 
inclined,  slightly  forward.  It  is  likely  that  the  portrait 
may  thus  be  somewhat  "flattered,"  through  a  partial 
sacrifice  of  literal  truth.  Better,  however,  to  "flatter" 
innocently  in  a  picture  than  to  exaggerate  unavoidable 
blemishes. 

Persons  having  a  rough  and  coarse  or  a  freckled  skin 
(both  of  which  blemishes  are  more  distinctly  visible  in 
the  heliograph  than  in  the  original,  since  in  such  picture 
yellow  shows  stronger  and  darker  than  black),  may  so 
prepare  the  skin  before  sitting,  that  these  defects  will 
be  but  slightly,  if  at  all,  discernible  in  the  picture.  This 
is  effected  by  smartly  rubbing  the  whole  face  imme- 
diately before  the  sitting,  with  a  soft  scarlet  flannel  cloth, 
or  a  handkerchief,  or  even  the  bare  hand ;  the  result  of 
which  is  a  glowing  flush  upon  the  surface.  By  employ- 
ing this  simple  expedient;  by  letting  the  light  fall 
directly  upon  the  cheek ;  and  by  having  taken  a  view  of 
the  face,  which  gives  the  shadows  on  its  broad  side ;  the 
skin  may  be  made  to  appear  quite  delicate  and  smooth, 
as  well  as  nearly  free  from  freckles ;  and  all  this  without 
overdoing  or  solarizing  the  picture. 

In  estimating  the  merits  of  a  picture,  one  considera- 
tion is  more  essential  than  all  others ;  i.  e.,  it  should  be 
like  the  original.  Verity  of  likeness  is  the  first  point 
of  excellence.  Some  portraitists,  in  the  past,  have  often 
given  the  preference  to  a  fancied  former  likeness  over 


122         THE  CAMERA  AND  THE  PENCIL. 

the  actual  present  one,  and  have  assumed  certain  traits 
of  resemblance  which  probably  never  existed. 

Again,  in  many  instances,  they  persist  in  looking  for- 
ward to  a  period  when  the  likeness,  now  partial,  shall  be 
perfect.  "  O,  sir,"  said  a  disappointed  mother,  when  the 
artist  had  finished  a  portrait  of  her  child,  "you  have 
indeed  done  it  beautifully,  but  it  isn't  in  the  least  like 
my  little  boy !"  "  My  dear  madam,"  replied  the  far-see- 
ing artist,  "he  will  grow  like  it — astonishingly  so !" 

The  time  was  when  portraitists  were  frequently  well 
paid,  and  with  thanks  also,  for  an  indifferent  painting, 
resembling  the  original  but  slightly.  Thanks,  however, 
to  heliography,  its  productions  have  taught  the  public  to 
see  and  judge  for  themselves. 

As  I  have  often  intimated  already,  every  manager  of  a 
camera  should  be  an  artist  in  feeling  and  judgment,  if 
not  in  the  full  sense  of  the  term.  He  should  not  only 
be  able  to  see  at  a  glance  the  best  view  of  each  face  and 
feature,  but  to  rouse  the  intellectual  faculties  of  his  sitter 
by  impinging  mind  against  mind,  and  to  sketch  the  moral 
as  well  as  the  physical  lineaments, — in  a  word,  to  secure 
the  most  natural  and  the  best  expression  of  which  such 
sitter  is  capable  after  summoning  the  same  into  his  face 
by  conversation,  and  whatever  other  influences  he  may 
deem  appropriate. 


CHAPTEK  XIII. 

LIGHTS  AND  SHADOWS  IN  A  PICTUEE — THEIR  USE  AND 

VALUE. 

Importance  of  proper  management  of  lights  and  shadows — Description  of  how 
Nature  uses  these  in  landscapes — Artists  should  follow  her  method  as  closely 
as  possible — Not  the  painter  and  heliographer  alone,  but  the  architect — Re- 
marks of  Sir  Charles  Bell. 

Although  persons  ignorant  of  artistic  effect  may  find 
fault  witli  the  most  effectively  disposed  lights  and 
shadows,  I  would  yet  counsel  every  heliographer  to  give 
his  productions  the  highest  possible  artistic  value.  This 
he  should  do  not  alone  for  his  own  reputation,  but  for 
the  honor  of  his  art  and  its  professors. 

If  insensible  to  these  motives,  he  may  well  doubt  his 
possession  of  the  qualities  indispensable  to  his  profes- 
sion. At  all  events,  a  skilful,  delicate  use  of  lights  and 
shadows  is  essential  to  the  production  of  those  heads 
truthfully  modelled  and  well  "rounded  up,"  which  can 
win  for  their  author  the  proud  title  of  artist. 

"Do  architects,"  queries  Sir  Charles  Bell,  "while 
arranging  the  masses  of  their  buildings  for  eftect,  study 
enough  how  the  shadows  will  fall?" 

It  seems,  then,  that  even  in  a  structure  of  wood  or 
stone  care  should  be  used  that  the  shadows  shall  be  cast 
so  as  to  secure  an  aspect  of  appropriateness  and  beauty ; 

(123) 


124  THE  CAMEEA  AND  THE  PENCIL. 

and  tliat  without  such  care  all  labors  else  are  compara- 
tively futile. 

How  noble  an  expression  may  be  stamped  upon  an 
edifice  by  managing  this  department  skilfully  is  shown 
in  the  Parisian  palace  of  the  Louvre,  and  in  Oxford,  Cam- 
bridge, and  other  colleges  and  buildings  in  England,  of 
which  excellent  photographs  are  frequently  to  be  met 
with.  There  are  also  many  other  heliographs  of  noble 
specimens  of  architecture,  effectively  taken  by  expe- 
rienced and  genuine  artists. 

If,  then,  light  and  shadow  be  essential  to  the  artistic 
excellence  of  a  building,  how  much  more  so  to  the  per- 
fect image  of  the  human  face  and  figure ! 

"Wherever  there  is  bright  light,  shadows  are  of  extra- 
ordinary prominence  and  importance, — and  this  alike  in 
nature  and  in  art,  the  transcript  of  nature.  Commonly, 
indeed,  shadows  are  more  conspicuous  than  the  objects 
that  produce  them.  For,  while  equally  large  with  these 
objects,  they  are  darker  than  their  darkest  parts,  since 
the  aspect  of  the  objects  is  modified  both  by  direct  and 
by  reflected  lights.  Their  broad,  equable  spaces,  there- 
fore, strongly  impress  the  eye ;  especially  as  their  out- 
lines are  defined  by  lines  sharper  than'  nature  ever  uses 
in  defining  objects  themselves. 

Hold  some  small  object  above  a  piece  of  white  paper 
in  bright  sunshine,  and  you  may  note  two  things, — first, 
that  the  object  shows  a  soft  outline,  while  the  shadow 
exhibits  a  sharp,  decisive  edge, — and  second,  that  the 
shadow  is  of  a  very  much  darker  hue  than  the  object. 
An  eminent  art-critic  afl&rms  that  such  a  shadow  will  be 
threefold  darker  than  a  piece  of  black  cloth  laid  in  the 
light. 

In  a  landscape,  then,  on  a  clear,  sunshiny  day,  the 
shadows  are  actually  the  most  conspicuous  things  next 


LIGHTS  AND  SHADOWS  IN  A  PICTURE.  125 


to  the  strongest  lights.  In  fact,  it  is  chiefly  by  them 
that  what  forms,  and  especially  the  peculiarities  of  forms, 
are,  is  perceived.  For  instance,  the  roughness  of  the  bark 
of  a  tree  can  be  seen  neither  in  light  nor  in  shade,  but 
is  defined  by  the  shadows  of  its  ridges.  To  represent 
vivid  light,  therefore,  we  must  first  get  sharp,  visible 
shadows. 

Again,  in  nature,  the  intensest  lights  and  darkest 
shadows  are  always  sparingly  employed ;  and  this  in- 
variably in  points,  and  never  in  masses.  If  the  light 
be  in  a  large  mass,  it  is  subdued;  and  the  shadow,  if 
broad,  is  feeble.  The  interval  between  such  contrasted 
light  and  shadow  is  occupied  by  middle  tints  and  pale 
grays.  Into  this  scene  nature  introduces  here  and  there 
a  spot  of  high  light,  and  here  and  there  one  of  intense 
gloom ;  the  effect  of  which  is  to  vivify  the  whole.  Her 
invariable  rule,  then,  would  seem  to  be  to  furnish  the 
same  amount  of  deepest  shadow  as  of  intensest  light, 
and  neither  more  nor  less, — points  of  each  answering  to 
those  of  the  other,  and  both  showing  vividly  out  from  the 
rest  of  the  landscape. 

Such  is  nature's  method  of  managing  light  and  shadow; 
and  herein  the  artist  has  a  model  which  he  should  strive, 
to  the  extent  of  his  ability,  to  copy.  Masses  of  diffused, 
soft  light,  balanced  by  masses  of  expanded,  mild  shadow ; 
the  space  betwixt  the  two  filled  by  carefully  graduated 
middle  tints ;  while  here  and  there,  a  keen,  bright  spot 
of  light  is  set  off  by  equivalent  spots  of  deep  shadow, — 
here  is  the  programme  which  the  wielders  of  the  pencil 
and  the  camera  should  alike  endeavor  to  conform  to  ;  and 
the  nigher  they  approach  it,  the  more  do  they  exhibit 
the  genius  and  executive  skill  of  the  artist. 

It  is  impossible,  on  paper,  to  tell  the  heliographer  how 
lie  can  make  his  one  simple  instrument  execute  a  work 


126  THE  CAMERA  AND  THE  PENCIL, 


SO  complex  and  delicate.  But  if  lie  have  tlie  eye  of 
genius,  there  need  but  industry  and  perseverance  in 
observing  and  experimenting  to  discover  the  modus 
operandi, — ^besides  that,  he  may  be  essentially  aided  by 
an  accomplished  artist  handling  the  camera  before  his 
eyes. 

What  we  call  "relief," — i.  e.  the  apparent  standing  out 
of  the  object  from  its  ground, — is  effected  by  the  contrast- 
ing of  light  and  shadow.  So,  would  you  produce  breadth 
and  splendor  of  effect,  join  together  masses  of  light 
objects  and  corresponding  masses  of  dark  objects.  Again, 
to  get  harmony  and  softness,  sink  some  objects  wholly 
or  partially  in  shadow,  and  let  their  outlines  be  insen- 
sibly lost  in  the  ground.  Finally,  to  create  vivacity  and 
spirit,  make,  in  some  parts  of  the  picture,  abrupt  breaks 
and  sharp  transitions. 


CHAPTER  XIV. 

COSTUME  IN  POETEAITUEE — HOW  DISPOSED. 

The  costume  in  a  portrait  of  great  importance — Directions  about  its  arrange- 
ment— The  disposition  of  the  hair  also  of  consequence — Instructions  on  this 
point  with  regard  to  women  and  to  men — Facts,  in  relation  to  this  subject, 
derived  from  noting  the  insane — How  to  station  groups  for  taking,  Ac. — 
"Small  things"  of  great  moment — Stories  may  bo  told  by  pictures — How, 
and  examples  given. 

As  t"he  attractiveness  of  a  picture  depends  very  mucli 
upon  the  artistic  disposition  of  its  drapery,  whetlier  it  be 
that  of  a  lady  or  a  gentleman,  this  matter  should  receive 
special  attention. 

To  give  to  the  dress  an  easy  and  graceful  or  an  ele- 
gantly careless  appearance,  is  more  difficult  than  may  at 
first  be  thought.  Indeed  it  requires  a  rare  judgment 
and  taste,  coupled  with  a  vigilant  eye,  and  an  unrelaxing 
attention,  and  these  are  not  qualities  of  universal  pre- 
valence. 

And  yet  not  a  few  subjects  pettishly  object  to  the 
slightest  handling  or  interference  by  the  artist  with  their 
drapery  or  their  hair.  The  operant  should,  of  course, 
explain  the  meaning  of  such  interference,  and  ask  per- 
mission to  employ  it.  If  the  party  consents,  the  operant 
should  loosen  the  cravat  and  spring  away  the  collar,  so 
as  to  give  the  utmost  freedom  to  the  neck  and  head.  He 
should,  moreover,  adjust  the  coat,  and  draw  the  vest 
together,  or  else  so  raise  it  that  it  may  partially  cover 
the  shirt-bosom,  since  the  whiteness  of  this  bosom,  when 
exposed  to  intense  light,  not  only  solarizes,  but  impairs 

(127) 


128         THE  CAMERA  AND  THE  PENCIL. 


the  aspect  of  the  face  by  counteracting  or  siibduing  the 
beautiful  middle  tints  thereon,  and  by  partially  destroy- 
ing the  lights  and  shadows  which  give  roundness  and 
force  to  the  picture. 

A  lady's  costume  should  receive  special  attention,  in 
order  to  give  it  an  appearance  of  amplitude  and  of  fall- 
ing from  the  figure  in  many  graceful  folds. 

The  most  intellectual  expression  of  a  gentleman's  face 
and  head  is  generally  gotten  from  the  side  showing  the 
parting  of  the  hair,  as  the  intellectual  organs  are  thus 
brought  into  view. 

Fine  hair,  when  curling  naturally,  or  adjusted  loosely, 
contributes  much  towards  giving  a  noble  expression  to 
the  head  and  aa  attractive  cast  to  the  features.  The  hair 
of  a  gentleman,  when  sitting  for  a  heliograph,  should 
never  be  carefully  oiled  and  brushed  down  according  to 
the  fashion  of  the  hair-dressers.  Contrariwise  it  should 
be  laid  loosely  up,  and  tossed  lock  above  lock,  so  as  to 
impart  thereto  a  careless -seeming  aspect. 

If  the  hair,  either  of  a  lady  or  a  gentleman,  be  very 
black,  it  should  be  so  ruffled  on  the  rounding  of  the  head 
as  to  absorb  instead  of  reflecting  the  light,  and  thus  to 
neutralize  the  glossy  lustre  occasioned  by  the  reflection 
of  the  light  falling  upon  it.  Else  the  hair  will  appear 
too  light  or  gray,  and  the  effect  will  be  unpleasing. 

In  fact,  hair,  whether  light  or  dark,  looks  in  a  picture 
by  far  the  best  if  sufficiently  ruffled  up  to  let  the  light 
fall  into  and  be  absorbed  by  it,  in  lieu  of  being  reflected 
from  the  crown  or  the  sides  of  the  head ;  since  in  the 
latter  case  it  will  wear  a  dry,  unnatural  appearance. 

We  are  told  that  "those  who  have  the  care  of  the  in- 
sane, testify  that,  by  allowing  to  female  patients  combs  and 
mirrors,  their  minds  are  soothed ;  that  when  the  mind 
is  brought  to  take  some  pride  in  personal  appearance,  it 


COSTUME  IN  POETRAITURE.  129 

is  always  quieted ;  and  that,  when  shaved,  patients  are 
invariably  horrified  at  themselves.  There  is  no  evidence 
of  folly  or  weakness  in  this.  The  hair  is  the  glory  of 
woman,  and  a  well-regulated  mind  cultivates  the  exterior. 
Of  all  personal  points  the  hair  is  the  most  characteristic 
and  conclusive.  We  have  seen  a  strikingly  recognisable 
portrait  of  a  well-known  character,  in  which  only  hair, 
eye-brows,  and  mustaches  were  given !  By  a  proper 
arrangement  of  the  hair  (says  "Walker),  great  defects  in 
personal  beauty  are  most  effectually  remedied.  Possibly 
these  items  may  suggest  to  those  who  have  charge  of 
female  prisoners  and  of  the  insane,  some  useful  ideas  as 
regards  restoring  them  to  healthy  minds." 

In  arranging  groups,  whether  of  adults  or  of  children, 
some  should  be  made  to  occupy  lower  seats  than  the 
rest;  some  should  stand,  while  others  should  sit  on 
stools  or  an  ottoman,  leaning  lightly  and  with  a  lounging 
grace  upon  their  companions ;  all,  meanwhile,  having 
some  special  object  in  view,  to  concentrate  attention,  so 
that  the  picture  may  bear  an  obvious  meaning  and  relate 
an  intelligible  story. 

Be  it  understood,  however,  that  these  subjects  should 
not  stand  with  the  stiff  precision  of  soldiers  in  a  platoon. 
Contrariwise,  they  should  be  disposed  in  one  or  more 
pyramids ;  some  being  represented  with  nearly  full  face, 
others  in  profile,  and  still  others  with  two-thirds  face. 

Meanwhile  special  care  should  be  taken  to  arrange 
the  group  in  correspondence  with  the  curves  of  the 
lenses,  at  the  same  time,  that  each  individual  should  be 
exactly  in  the  focus  of  the  instrument. 

With  all  the  misnamed  "small  things,"  above  enu- 
merated, the  heliographer  should  be  perfectly  familiar, 
since  they  contribute  greatly  towards  producing  a  fine 
picture ;  nor  can  he  obtain  the  most  life-like,  artistic, 


130         THE  CAMERA  AND  THE  PENCIL. 

agreeable  portrait  possible.,  witbout  giving  beed  to  eacb 
and  all  of  tbem. 

ILLUSTRATIONS  BY  HELIOGRAPHY. 

Heliograpby,  in  its  several  brancbes,  may,  by  skilled 
operants  guided  by  sound  judgment  and  good  taste,  be 
employed  to  illustrate  many  interesting  events,  very 
expressively  and  beautifully.  And  numerous  simple 
incidents  and  subjects  can  be  truthfully  and  vividly 
represented  by  a  single  figure  or  by  a  felicitous  pose  of 
a  single  person. 

Two  or  more  individuals,  by  a  little  effort,  may  be 
made  to  express,  witb  clearness  and  force,  tbe  subject  of 
a  whole  paragraph, — with  such  clearness  and  force  indeed, 
that  the  picture  shall  all  but  speah  the  thoughts  of  the 
author  and  the  artist. 

Let  me  mention  a  few  simple  examples. 

1st.  The  young  artist, — drawing  upon  a  slate. 

2d.  The  young  arithmetician, — puzzled  with  a  sum  on 
a  slate. 

3d.  Schoolboy's  first  lessons  in  writing,  &c. 

4th.  Separation  of  two  fondly  loving  hearts, — a  young 
man  going  to  sea,  as  a  sailor,  or  going  abroad, — and  a 
young  lady  with  her  face  buried  in  a  handkerchief, 
weeping,  and  resting  her  face  on  her  lover's  shoulder, 
while  both  are  overwhelmed  with  sadness. 

5th.  His  return, — their  joyous  meeting,  &c. 

Thus,  many  little  domestic  scenes  might  be  effectively 
illustrated,  as  also  scenes,  both  joyous  and  grave,  in  the 
writings  of  numerous  authors.  Shakspeare  is  full  of 
interesting  topics  for  representation.  His  "  Seven  Ages," 
for  instance,  would  furnish  admirable  scope  for  the 
genius  of  a  young  enthusiast. 

Collins's  Ode  to  the  Passions,  if  pictured  skilfully,  and 


COSTUME  IN  PORTRAITUKE.  131 

•witli  suitable  accessories,  might  be  well  illustrated  by  a 
few  talented  women  who  were  capable  of  varied  action 
and  expression. 

The  five  senses  might  be  beautifully  represented  by 
.  grouping  several  little  children  in  a  series  of  pictures, 
each  supplied  with  proper  accessories, — for  example,  a 
sea-shell  held  by  one  child  to  the  ear  of  another,  might 
symbolize  hearing, — an  opera-glass  or  microscope,  see- 
ing,— fruit,  &c.,  tasting, — flowers,  smelling,  &c. 

The  old  arm-chair,  with  a  female  sitting  in  or  standing 
by  it,  might  be  happily  illustrated  and  made  to  tell  its 
sad  story  in  a  few  skilfully  composed  pictures, — in  some 
of  which  it  might  be  well  to  represent  her  as  weeping. 
These  few  simple  examples  may  intimate  some  of  the 
utilities  and  beauties  of  which,  in  competent  hands, 
heliography  is  susceptible. 


CHAPTEE  XY. 

THE   ATMOSPHERE, — THE   WEATHER, — LIGHT,    FLEECY 
CLOUDS,  ETC. 

Effect  of  changes  of  weather  upon  chemical  coatings — Various  exemplifica- 
tions of  this — Perplexity  of  a  noted  artist — Suggestions  of  how  the  operant 
should  deal  with  his  critics  and  advisers. 

Changes  of  weather  affect  tlie  action  of  the  sunbeam 
upon  the  chemical  coating  which  receives  the  impression, 
and  accelerate  or  retard  the  development  of  such  impres- 
sion. 

Thus,  in  our  climate,  after  a  severe  storm,  or  several 
rainy  or  damp  days  in  succession,  it  often  clears  up,  and 
for  some  days  scarce  a  single  cloud  is  visible.  The  sky 
is  blue ;  the  air  seems  clear  and  pure ;  and  the  helio- 
grapher's  visitants,  even  if  distinguished  for  scientific 
attainments,  remark,  "what  a  favorable  day  for  your 
art ;  with  such  a  light  your  pictures  must  be  exquisite, 
as  well  as  rapidly  taken!" 

These  persons,  however,  are  here  in  error ;  for  the 
"clear  sky"  they  allude  to  absorbs  the  needful  light; 
whereas  thin,  fleecy  clouds,  by  reflecting  the  light, 
quicken  the  chemical  action  of  the  camera,  as  well  as 
the  development  of  the  image. 

Observing  operants  have,  I  presume,  frequently  noted 
these  phenomena,  without  ever  having  seen  a  cawse  as- 
signed for  the  effect  produced  in  operating,  or  for  the 

(132) 


THE  ATMOSPHEEB,  THE  WEATHER,  ETC.  133 


peculiar  action  of  tlie  sunbeam  on  the  cliemically  pre- 
pared surface,  while  exposed  to  the  image  in  the  camera. 

After  a  heavy  rain  or  several  consecutive  wet  days, 
or  more  especially  a  thunder-storm,  the  heliographer,  if 
taking  daguerreotypes,  should  use  extra  care  to  preserve 
his  whole  apparatus  and  materials  dry  and  in  perfect 
order.  Otherwise  he  will  encounter  a  host  of  difficulties 
and  vexations.  He  will  certainly  be  bafQed  in  his 
endeavors  to  produce  well-developed,  bright,  and  rich- 
toned  pictures  at  short  sessions.  And  his  failure  will  be 
the  more  signal  if  the  atmosphere  be  clear,  or  not  charged 
with  electricity,  or  devoid  of  white,  fleecy  clouds  and  of 
haziness.  Such  clouds,  as  remarked  above,  serve  as 
reflectors,  while  electricity  operates  to  intensify  and 
quicken  the  action  of  the  actinic  rays. 

On  a  certain  occasion,  after  several  successive  days 
like  those  above  described,  followed  by  a  thunder-gust 
accompanied  with  lightning,  the  sun  rose  clear  and  the 
firmament  showed  a  cloudless  azure.  At  about  noon  of 
such  a  day,  I  called  upon  one  of  the  most  popular 
daguerreotypists  of  New  York  city,  who  told  me  that  an 
eminent  theologian  had  submitted  already  to  nine  or  ten 
trials  for  his  daguerreotype  portrait.  During  my  stay, 
five  additional  trials  were  made.  Not  one,  however,  of 
the  whole  fourteen  or  fifteen,  proved  satisfactory.  Our 
popular  friend  was  (technically  speaking)  "  lost  in  the 
fog ;"  and,  manlike,  owned  frankly,  that  "  he  knew  not 
what  to  do."  He  ventured,  indeed,  the  hypothetical 
remark,  that  "the  atmosphere  was  damp,"  &c. 

At  the  first  glance  I  discovered  that  his  laboratory 
was  damp,  his  iodine  and  buffs  saturated  with  moisture ; 
and  his  plates  covered  with  the  polishing  material,  rouge, 
&c.  I  found,  moreover,  that  the  atmosphere  was  but 
slightly  charged  with  electricity,  while  free  alike  from 


134         THE  OAMBEA  AND  THE  PENCIL. 

fleecy  clouds  and  vaporous  haze ;  and  that  the  sky  wore 
that  intense  blue  which  swallows  up  the  light.  Here 
were  superabundant  causes  to  account  for  his  repeated 
failures,  since  either  of  them  would  frequently  suffice. 
In  photographing,  however,  such  difficulties  are  less 
numerous. 

A  FEW  FEIENDLY  HINTS  TO  THE  ARTIST. 

A  few  suggestions  to  my  professional  brethren  respect- 
ing certain  items  of  demeanor  will,  I  trust,  be  graciously 
listened  to,  both  in  view  of  my  lengthened  experience  in 
the  premises,  and  of  the  kindly  spirit  that  prompts  them. 

For  example,  you  are  overborne  by  a  crowd  of  cus- 
tomers, each  clamoring  for  the  first  sitting,  since  the  time 
of  each  is  limited  to  the  minute^ — one  being  obliged  to 
leave  the  city  in  the  next  train,  and  a  second  in  the 
next  steamer  for  California  or  Europe;  and  each,  of 
course,  wishing  to  obtain  not  merely  a  life-like  portrait, 
but  also  &  transcendent  specimen  of  cis- Atlantic  art  to 
exhibit  and  talk  about  abroad. 

Such  an  experience  may  be  yours  any  and  every  day 
of  the  six ;  how  are  you  to  deport  yourself  ? 

My  advice,  based  on  much  observation,  is  substantially 
this.  Curb  your  temper  strictly, — ignore  the  very  name 
of  "nervousness," — be  courteous  to  all  without  exception 
and  at  all  times, — pay  a  prompt,  affable  attention  to  all 
in  their  turn,  whatever  their  vocation  or  social  stand- 
ing,— move  heedfuUy,  as  well  as  quickly,  in  the  perform- 
jance  of  your  dirties,  while  exerting  your  utmost  dexterity 
jin  handling  the  implements  of  your  art ; — speak  to  each 
but  briefly,  an4  then  exclusively  to  the  purpose, — and 
manifest  to  all,  as  they  successively  take  their  places 
before  the  camera,  your  solicitude  to  give  them  the  ut- 
most possible  satisfaction. 


THE  ATMOSPHEEE,  THE  WEATHER,  ETC.  135 

If  jou  will  thus  act,  my  own  experience  makes  me 
quite  confident  that  nineteen  out  of  twenty  of  your  sit- 
ters would  appreciate  your  efforts  and  give  you  their 
approval;  would  patiently  await  your  convenience; 
would  accord  you  their  personal  influence;  and,  finally, 
would  at  least  pronounce  you  a  gentleman,  even  if  nature 
had  forbidden  your  being  an  artist. 

Another  not  unimportant  question  is,  how  shall  the 
artist  demean  himself  towards  his  critics  ? 

If  sensitive,  he  may  be  both  offended  and  grieved  by 
the  comments  of  the  conceited  and  pretentious  upon  his 
performances.  In  such  case  he  had  best  consider  that, 
though  fault-finders  are  not  invariably  the  most  intelli- 
gent and  judicious  critics,  yet  their  remarks,  if  carefully 
weighed,  may  prove  valuable  helps  to  his  after  efforts. 
I  would,  therefore,  as  a  friend,  advise  that  volunteer 
strictures,  be  they  what  they  may,  should  be  accepted 
with  good-humored  patience. 

Still  further.  I  am  confident  that  every  high-minded 
devotee  to  his  art  will  not  merely  receive  with  patience, 
but  will  eagerly  court,  the  frank  critiques  of  eminent 
artists  and  accomplished  connoisseurs.  If  he  does  not, 
he  deprives  himself  of  a  valuable  means  of  improve- 
ment, and  very  unwisely  "  stands  in  his  own  light." 


CHAPTER  XVI. 

PERSOJSTAL  CONSIDERATIONS. 


Various  personal  matters  stated — Account  of  the  Author's  early  training — Of 
his  pursuits  for  some  years  of  his  mature  life — And  the  preparation  thus 
made  by  him  for  his  subsequent  success  in  Heliography — Importance  of 
drawing  and  sketching  to  all  artists,  and  to  persons  in  all  pursuits  of  life — 
Measures  which  must  soon  be  adopted  to  secure  patronage  in  the  sun-paint- 
ing profession. 

As  my  name  lias,  for  several  years,  been  somewhat 
conspicuously  associated  witli  the  art  of  "wMcli  I  am 
treating,  I  hope  the  reader  may  not  think  me  presump- 
tuously deviating  from  my  subject  if  I  here  speak  briefly 
of  myself,  of  the  aims  pursued  by  me,  and  the  course 
adopted  in  their  pursuit. 

Much  of  the  generally  conceded  superiority  of  my 
heliographic  pictures,  in  their  several  kinds,  must,  I 
think,  be  ascribed  to  my  strong  partiality  for  drawing 
and  sketching,  and  to  my  study  and  practice  of  the  same, 
as  a  vocation,  during  my  early  years.  Having,  for  three 
of  those  years,  pursued  "drawing  from  nature,"  or 
making  crayon  portraits  from  life,  I  crossed  the  Alle- 
ghenies  in  1832,  nearly  thirty  years  ago,  to  seek  the 
instructions  of  Sully  of  Philadelphia,  or  of  some  emi- 
nent New  York  artist,  as  preparatory  to  a  visit  to  Italy. 

Circumstances  preventing  the  execution  of  this  pur- 
pose, I  followed  a  somewhat  kindred  profession  for 
several  years,  at  the  close  of  which  I  adopted  the  then 
newly  promulged  art  of  Daguerre, — a  step  I  was,  in  part, 

(136) 


PERSONAL  CONSIDERATIONS.  137 

moved  to  take  with  tlie  view  of  gratifying,  so  far  I 
might,  mj  love  for  art. 

Having  thus  exercised,  to  no  small  degree,  the  faculties 
involved  in  art-practice  ;  having  acquainted  myself  with 
numerous  treatises  on  art,  and  meditated  much  upon  the 
topics  thereby  suggested ;  I  naturally  found  heliography 
a  most  fascinating  pursuit.  As  an  art  based  on  the  most 
important  sciences,  as  well  as  for  various  other  reasons, 
it  struck  me,  at  the  outset,  as  well  suited  to  furnish  scope 
to  the  most  comprehensive  genius  and  the  highest  and 
most  various  culture. 

And  I  hope  to  see  it  ere  long  in  the  hands  exclusively 
of  the  ablest  and  most  eminent  practical  artists.  Then, 
and  not  earlier,  will  it  be  rightly  appreciated,  secure  its 
merited  rank,  and  receive  the  encouragement  needed  to 
redeem  it  from  the  contaminating  grasp  of  operants 
whose  incompetence  is  matched  only  by  their  disrepute. 

The  present  state  of  heliography  on  both  sides  the 
Atlantic, — low  certainly,  in  comparison  with  its  possi- 
bilities,— indicates,  that  important  improvements  therein 
are  urgently  needed.  And  my  own  opinion  is,  that  the  day 
is  not  distant,  when  every  heliographic  establishment, 
that  would  secure  patronage,  must,  as  a  sine  qua  non, 
have  an  able  and  accomplished  artist,  as  the  sole  super- 
intendent and  manager  of  the  sitting  department. 

The  daguerreotype  picture  undoubtedly  has  given, 
and  must  give  place,  in  some  degree,  to  the  paper  and 
collodion  pictures,  since  these  can  be  indefinitely  multi- 
plied from  each  negative,  and  by  help  of  the  colorists 
can  furnish  likenesses  more  truthful  in  drawing  and  life- 
like in  color,  whether  of  miniature  or  life-size,  than 
have  heretofore  been  obtained.  By  consequence,  even 
distinguished    painters    will    soon    be    constrained    to 


138  THE  CAMERA  AND  THE  PENCIL. 

acknowledge  the  utility  of  heliograplij,  and  to  give  it 
some  of  their  attention  both  theoretically  and  practically. 

The  aim  of  the  true  heliographer  should  ever  be  to 
produce  such  a  picture,  as  will  secure  the  approval  of 
the  best  judges,  whether  his  sitter  can  appreciate  it,  or 
not.  And  to  effect  this,  he  must  be  qualified  to  under- 
stand and  bring  into  use  all  the  various  powers  of  the 
camera,  as  also  to  apprehend  and  sympathize  in  mood 
and  feeling  with  every  successive  sitter.  It  is  to  be 
lamented,  that  drawing  is  so  neglected  in  this  country, 
since  it  is  highly  useful  to  mechanics  of  all  classes,  and 
to  farmers  and  professional  men  generally. 

Still  more  requisite,  however,  is  drawing  to  the  archi- 
tect and  to  the  artist  of  whatever  kind.  To  the  helio- 
grapher, above  all  others,  is  a  familiarity  with  light  and 
shade,  perspective,  and  kindred  matters,  essential  to 
achieving  eminent  success ;  outweighing  even  the  most 
transcendent  skill  in  coloration. 

And,  as  already  hinted,  I  believe  the  time  is  near, 
when  every  establishment,  that  would  win  the  patronage 
of  the  most  intelligent,  must  have  one,  by  both  nature 
and  cultivation  an  artist,  to  arrange  properly  the  sitting- 
room;  to  place  the  subject  in  the  best  position;  to  deter- 
mine the  most  favorable  view  of  the  face  and  the  most 
fitting  disposition  of  light  and  shadow;  to  secure  the 
finest  middle  tints ;  and,  most  essential  of  all,  to  obtain 
the  highest  and  most  genial  expression  of  the  sitter. 

It  then  remains  so  to  adjust  the  camera,  that  the 
impression  gotten  may  be  as  truthful  and  agreeable,  as 
possible,  both  as  a  likeness  and  a  work  of  art. 


CHAPTEE  XYII. 

HELIO GRAPH Y  AN  IMPROVER  OF  ARTS  AND  ARTISTS. 

Predictions  that  heliography  would  ruin  the  business  of  other  pictorial  artists — 
Proved  false  by  event — All  art-genius  more  encouraged  now  than  ever  be- 
fore— Heliography  cultivating  popular  taste  and  judgment — Portrait  and 
miniature  painters  improved  by  this  art — 70,000  heliographs  produced  by 
the  Author  —Means  for  advancing  the  art — Clearness,  rather  than  graces  of 
composition,  aimed  at  in  this  work. 

The  heliographio  art  haa  no  sooner  reached  sncli  a 
development  that  a  tolerably  faithful  representation  of 
the  human  face  and  form  might  be  produced  by  it,  than 
pictorial  artists  of  every  class  predicted  that  their  voca- 
tion would  be  ruined,  and  universal  art  be  degraded  by 
its  fatal  instrumentality. 

That  the  reverse  has  been  the  event,  is  now  gene- 
rally conceded.  For  it  is  obvious  that  artistic  genius, 
in  its  every  kind,  is  better  appreciated  and  more  amply 
encouraged  at  this  moment,  than  it  ever  was  before  helio- 
graphy had  attained  its  present  degree  of  excellence  and 
of  popular  favor, 

I  have  repeatedly  suggested  that  the  numerous  pic- 
tures, exhibited  at  the  doors  of  heliographers,  operated 
powerfully  for  developing  and  training  an  artistic  taste 
in  the  public.  That  important  effects  have  already  been 
thus  wrought,  is  evidenced  by  many  and  various  tokens. 

Thus,  all  classes  of  the  community,  alike  the  poor  and 
the  rich,  the  high  and  the  humble  of  state,  manifest  a 
constantly  growing  desire  to  procure  portraits  of  them- 

(139) 


140  THE    CAMEEA  AND  THE  PENCIL. 


selves,  or  of  their  kindred  and  friends.  Nor  this  alone. 
They  show  a  taste  also  for  the  products  of  all  the  other 
fine  arts,  e.  g.  paintings,  sculptures,  engravings,  &c.  These 
signs  indicate  that  the  entire  people  are  becoming,  to 
some  extent,  artistically  educated,  and  thus  competent 
to  appreciate  the  works  of  artists  of  every  description, 
both  in  respect  of  their  fidelity  to  nature  and  their  artistic 
finish. 

That  heliography  and  its  achievements  have  acted 
auspiciously  upon  portrait  and  miniature  painters,  is 
beyond  all  doubt.  It  is  seen  in  the  greater  truthfulness 
of  their  representations, — a  result  flowing  from  a  more 
diligent  and  profound  study  of  nature.  Meanwhile, 
instead  of  receiving  injury,  they  have  derived  essential 
benefit  from  the  newly-discovered  art.  For  they  have 
been  constrained  to  present  not  merely  the  exact  linea- 
ments, facial  and  figural,  of  their  subjects,  but  also  what 
is  vastly  more  important,  that  ex^jression  which  reveals 
the  mind — the  heart — the  individualizing  soul  of  the  same. 
Otherwise,  their  pictures  are  pronounced  undeserving 
the  name  of  portraits. 

To  those  (if  such  exist)  who  may  contemn  the  helio- 
graphic  art;  who  may  sneer  at  suggestions  offered  by 
one  of  its  humble  professors  concerning  the  requisites 
of  a  good  portrait,  such  as  correctness,  ease,  and  grace  in 
arrangement,  position,  light  and  shade,  expression,  &c. ; 
I  shall  make  no  apology  for  having  ventured  to  express 
my  views.  They  are,  in  fact,  not  addressed  to  such,  but 
to  persons  of  good  sense,  sound  judgment,  and  correct 
feeling ;  and  especially  to  those  who  are  co-workers  with 
myself  in  heliography.  To  the  latter  I  submit  my  re- 
marks, with  the  hope  that  they  may  amend  or  improve 
upon  them,  wherever  there  is  need  of  the  one,  or  room 
for  the  other. 


HELIOGRAPHY  AX  IMPROVER  OF  ARTISTS.  141 


It  is  worth  noting,  that  while  the  portraitist  or  the 
miniature  painter  has  devoted  his  study  and  labor  to 
painting,  say,  500  or  1000  faces,  I  have  taken  nearly 
70,000.  He,  indeed,  has  enjoyed  the  advantage  of  giving 
from  3  to  7  or  10  hours,  or  even  double  or  treble  the 
time,  to  each  picture.  I,  on  the  contrary,  could  spare 
but  a  few  moments  for  each  specimen.  And  during  this 
brief  period,  I  must,  perforce,  decide  upon  the  most 
favorable  disposition  of  light  and  shade ;  upon  the  most 
easy  and  becoming  posture ;  upon  the  best  facial  expres- 
sion, &c.  All  this,  together  with  the  taking,  the  develop- 
ing, the  fixing,  and  the  incasing  of  the  impression,  must 
(if  a  daguerreotype)  be  accomplished  within  10  or  15  or 
20  minutes.  And  then  this  hurriedly-executed  specimen 
must  be  handed  to  the  applicant,  who  may,  perhaps, 
convey  it  to  Europe,  or  some  other  trans-oceanic  region, 
and  there  exhibit  it  as  a  sample  of  American  helio- 
graphy. 

If  ladies  and  gentlemen  would  grant  to  a  first-class 
heliographer  an  opportunity  to  produce  a  truly  artistic 
specimen  of  his  workmanship,  as  propitious,  in  all 
respects,  as  that  allowed  to  the  painter  for  getting  up 
his  portrait, — in  which  concession  are  implied  time  and 
facilities  for  correction,  for  elaborating  all  details,  &c., — 
if  this,  I  say,  should  be  done,  while  the  entire  control  of 
the  sitting-department  was  also  assigned  to  an  operant  of 
highest  ability  and  accomplishment, — then,  I  am  per- 
fectly confident,  heliography  would  speedily  assume  a 
very  high  rank  among  the  fine  arts. 

The  suggestions  comprised  in  several  preceding  chap- 
ters, were  mostly  noted  down  by  me  while  busily  engaged 
in  the  sitting-department,  and  were  prompted  by  what  I 
discovered  to  be  the  exigencies  of  the  time  and  the  occa- 
sion.   I  doubt  not  that  others,  inspired  with  a  passion 


142         THE  CAMERA  AND  THE  PENCIL. 

for  art  in  general,  and  enthusiastic  for  their  special  voca- 
tion, have  felt  the  impulses  of  the  same  or  of  kindred 
thoughts,  and  have  carefully  followed  their  lead.  If  so, 
I  doubt  not  they  are  as  fully  persuaded  as  myself,  of  the 
importance  of  these  hints. 

Not  having  encountered  such  in  any  work  designed 
for  the  use  of  heliographers,  I  have  supposed  I  might  be 
rendering  a  service  to  the  profession  by  putting  them 
within  their  reach. 

In  executing  this  task,  I  have  striven  incessantly  for 
the  utmost  attainable  clearness  and  minuteness  of  state- 
ment and  exposition ;  and  to  compass  this  end,  I  have  not 
shrunk  from  considerable  repetition.  However  desirable 
may  be  the  graces  of  composition,  they  are  of  far  less 
value  in  a  treatise  like  this,  than  'perfect  intelligibility. 
If  the  reader  finds  that,  pressed  by  the  exactions  of  the 
subject,  I  have  occasionally  sacrificed  the  former,  I  trust 
he  will  also  find  that  I  have  rarely,  if  ever,  missed  of 
the  latter. 

In  short,  I  hope  my  meaning  will  always  and  at  once 
be  discovered.  Whether,  when  discovered,  that  meaning 
is  of  any  value,  my  reader  must  determine. 


CHAPTER  XYIII. 

EXPRESSION — THEOUGH  THE  FACE. 

Expression  essential  in  a  portrait — The  artist  an  imitator  of  the  Creative 
Power — Genius  alone  can  detect  and  depict  expression — Simon  Magus — 
Genius  improved,  not  acquired,  by  study — The  painter  has  the  advantage  of 
the  heliographer  in  detecting  expression,  from  having  many  sittings — Law- 
rence, his  supposed  mode  of  doing  this — Prometheus — The  heliographer 
must  act  at  once,  with  perhaps  numbers  awaiting  their  "turn" — None  should 
attempt  heliography  but  those  conscious  of  genius — Otherwise,  they  should 
seek  dififerent  vocations — Phaeton  and  his  fate,  what  it  may  symbolize — 
Historic  and  ideal  portraits — Their  nature  and  modes  of  proceeding — Ideal 
representations  of  Christ,  the  Virgin  Mother — Of  Washington,  Napo- 
leon, &c. 

In  the  coTirse  of  this  work  I  have  repeatedly  and 
most  emphatically  urged  that  expression  is  essential  to 
a  portrait,  whether  taken  with  a  camel's  hair  pencil,  or 
with  the  pencil  of  the  sun.  Nor  can  this  point  be  pressed 
too  often  or  too  forcibly.  For  a  portrait,  so  styled,  how- 
ever splendidly  colored,  and  however  skilfully  finished 
its  manifold  accessories,  is  worse  than  worthless  if  the 
pictured  face  does  not  show  the  soul  of  the  original, — 
that  individuality  or  selfhood,  which  differences  him  from 
all  beings,  past,  present,  or  future.  The  creative  power 
never  repeats  itself;  but  in  every  successive  performance 
presents  somewhat  varying  from  all  existences  that  have 
been  or  are. 

Now  the  true  artist,  of  whatever  class,  is  substantially 
an  imitator  of  the  Supreme  Proto-Artist.  His  leading 
aim  is  to  reproduce,  as  exactly  as  possible,  the  creations 

(143) 


144         THE  CAMERA  AND  THE  PENCIL. 

of  the  Divine  Original.  Therefore  he  must  detect  and 
"  fix"  the  expression  marking  the  personality  of  his  sub- 
ject, or  he  shows  himself,  virtually,  an  incapable  and  a 
sham. 

But  in  what  manner  and  by  what  means  shall  he  pierce 
the  "  iron  mask"  of  the  human  face  (the  chief  medium  of 
expression) ;  enter  those  mysterious  realms  where  abide 
the  soul's  motive  powers ;  awake  these  powers  to  such 
activity,  that  the  soul  must  show  perforce,  in  the  facial 
mirror,  its  essential  quality ;  and,  finally,  transfer  to  his 
tablet  a  life-like  ''presentment"  of  the  soul  thus  moved? 

To  do  all  this  is  the  prerogative  of  genius  exclusively ; 
mere  talent  cannot  effect  it,  neither  can  industry,  nor  the 
highest  mechanical  aptitude.  And  such  genius  is  an 
original  endowment ;  it  can  never  be  acquired  by  educa- 
tion, labor,  money,  or  even  prayers. 

Simon,  the  Magian,  offered  a  large  sum  for  the  pur- 
chase of  the  "Holy  Ghost,"  on  beholding  the  far  greater 
than  magic  wonders  wrought  thereby.  "Thy  money 
perish  with  thee,"  replied  Peter, — adding  that  this  mar- 
vel-working power  was  simply  "  the  gift  of  God." 

Such  a  gift  is  genius  as  well.  Of  course  genius,  like 
other  native  qualities,  can  be  improved  and  refined.  But 
no  culture  will  give  it  where  its  germs  were  not  im- 
planted. He,  then,  who  is  not  clearly  conscious  of  being 
thus  endowed,  had  best  adopt,  without  delay,  some  other 
vocation,  wherein  such  powers  as  he  possesses  may  be 
usefully  and  reputably  employed.  Art  is  certainly  not 
his  sphere. 

Now,  as  I  have  repeatedly  said,  the  heliographer,  not 
less  than  the  painter  and  sculptor,  can  never,  without 
this  genius,  be  more  than  a  mere  mechanic,  or,  far  worse, 
a  charlatan.  Perfection  itself,  in  the  manipulative  and 
other  accessory  departments,  cannot  even  hegin  to  fulfil 


EXPEESSION — THEOUGH  THE  FACE.  145 


the  requisites  of  a  true  lieliograpTiic  portrait,  if  it  exhibits 
not  that  shadow  of  the  soul  which  genius  intuitively  dis- 
cerns, summons  forth,  and  "fixes." 

But  how  can  the  heliographer  detect  and  call  up  this 
expression  within  the  brief  period  of  his  process?  Un- 
questionably the  painter  has  here  a  certain  advantage 
over  the  heliographer ;  as  will  appear  from  a  simple 
illustration. 

Suppose  Lawrence,  eminent  for  portraitive  expression, 
were  called  upon  to  paint  one  of  the  celebrities  of  the 
land.  Being  an  adept  in  form,  coloring,  composition, 
&c.,  he  feels  unquestionably  no  solicitude  about  these. 
His  sole  anxiety  (I  suppose)  might  be  thus  voiced, — 
"  Shall  I  succeed  in  giving  to  the  public,  who  have  often 
seen  my  sitter,  such  a  life-like  representation  of  him,  that 
all  beholders  shall  exclaim,  '  this  is  the  very  individual 
himself! — his  eyes  follow  us  everywhere,  and  compel  us 
to  turn  our  own  away !' 

"  This  result"  (he  continues)  ''  I  must  produce,  or  I 
compromise,  perhaps  fatally,  the  high  repute  I  have 
heretofore  won." 

Such  we  may  fancy  to  be  his  premeditations. 

Let  us  now  suppose  the  sitter  placed  in  the  position 
deemed  most  effective,  and  the  painter,  brush  in  hand, 
before  his  easel. 

Of  course  much  mere  mechanical  work  must  be  done, 
occupying,  perhaps,  several  sittings,  ere  the  moment 
arrives  for  essaying  the  most  essential  part  of  the  pro- 
cess, i.  e.,  the  stamping  upon  the  face  an  expression  of  the 
soul's  individuality. 

"When,  according   to   the   Greek   myth,   Prometheus 
fashioned  a  form  of  clay,  it  was  the  last  act  of  the  crea 
tive  process  to  interpenetrate  that  form  with  the  life 
giving  fire  from  heaven. 
10 


146         THE  CAMERA  AND  THE  PENCIL. 

So,  in  creating  Adam,  ''  God,  having  formed  man  of 
the  dust  of  the  ground,  breathed  into  his  nostrils  the 
breath  of  life,  and  man  became  a  living  soul." 

The  artist,  a  quasi-creator,  must  copy,  throughout,  the 
process  of  his  Divine  Exemplar. 

I  presume,  that  the  painter  is,  from  the  outset,  busily 
searching  for  the  individualizing  expression  which  will 
represent  his  sitter's  soul.  To  this  end  he  exerts  his 
best  conversational  powers,  while  bringing  to  bear  on 
his  subject  that  fine  magnetism  which  is  the  circum- 
ambient atmosphere  of  genius. 

I  suppose  several  sittings  must  be  needful  for  attaining 
this  end,  as  he  may  wish  to  study  his  subject  while  in 
different  moods,  and  acted  on  by  various  influences. 
For  this  "thousand-stringed  harp"  sends  not  back  the 
same  tones  to  the  touch  of  every  wind.  While,  in  response 
to  the  "sweet  south"  or  the  balmy  west,  it  may  "dis- 
course excellent  music,"  the  rude,  boisterous  north  or 
the  sour,  cutting  east  may  wring  from  it  what  might 
seem  shrieks  of  agony  or  howls  of  defiant  wrath.  Wind 
and  weather,  and  myriad  other  conditions  of  man's  em- 
broiled lot  may,  for  the  time,  forbid  an  exhibition  of  one's 
higher,  or  even  average  self.  However  excruciating  your 
thirst,  you  cannot  draw  water  from  a  spring,  ordinarily 
the  purest  and  sweetest,  when  stricken  solid  by  a  freez- 
ing blast,  or  roiled  into  mud  by  some  passing  hoof. 

The  artist-painter,  therefore,  by  the  several  sittings 
accorded  him,  may  scrutinize  his  subject  in  many  of  his 
various  moods,  mental  and  corporeal.  And  thus  he 
eventually  ascertains,  by  the  mysterious  intuition  of 
genius,  what  his  sitter's  individuality  is,  when  acting 
under  the  most  genial  conditions.  This  individuality  he 
then  bids  shine  out  from  the  canvas. 


EXPRESSION — ^THROUGH  THE  FACE.  147 


From  the  foregoing  premises  several  inferences  logic- 
ally follow. 

As  already  intimated,  the  painter,  while  authorized  to 
demand  from  his  sitter  numerous  visits,  may  also  fix 
upon  the  most  auspicious  seasons;  and,  above  all,  is 
secure  from  perturbing  interruptions  the  while.  If,  then, 
with  so  many  valuable  helps,  superadded  to  artistic 
genius,  he  fails  of  achieving  the  one  indispensable  object, 
his  failure  must  be  a  veritable  enigma. 

Contrariwise,  the  heliographer  may  have  his  ante- 
room thronged  with  visitants,  of  numerous  diversities  of 
intelligence,  character,  and  social  state,  all  awaiting  their 
turn,  often  impatiently,  and  not  always  silently.  To 
each  he  can  give  but  a  few  hurried  moments.  Within 
these  he  must  (if  at  all)  detect  and  represent  the  selfhood 
of  each ;  besides  performing  all  the  other  items,  which 
the  painter  executes  at,  maybe,  half  a  dozen  sessions, 
sufiiciently  far  apart. 

If,  then,  despite  these  embarrassments  and  hindrances, 
the  heliographer  can,  for  the  most  part,  produce  pictures 
exhibiting  this  life-like  expression, — may  we  not  say  of 
his  genius,  that  it  is  more  flashingly  intuitive  than  even 
that  of  the  painter  of  the  same  grade  ? 

My  conclusion  from  the  foregoing  remarks  is  this. 

If  an  individual  is  assured  by  that  ultimate  intuition, 
which  no  words  can  define,  that  he  is  endowed  with  a 
genius  for  art,  then  let  him,  modestly  yet  firmly,  enter 
the  heliographic  room,  and  plant  himself  by  the  camera. 

If,  contrariwise,  he  is  pretty  sure,  or  even  strongly 
suspicious,  that  by  the  primordial  decree  he  belongs  to 
that  vast  majority  who  are  destined  to  deal  with  the 
actualities  of  common  life,  then  let  him  avoid  such  locality. 
Else  he  is  a  "  trespasser  on  the  close." 

Apollo,  the  sun-god,  once  permitted  his  son.  Phaeton, 


148  THE  CAMEEA  AND  THE  PENCIL. 


to  take  the  "ribbons"  of  tbe  solar  chariot  for  a  twenty- 
four  hours'  drive  round  our  globe.  The  youth  got  so 
bewildered  that  he  coald  neither  guide  nor  hold  in  his 
horses ;  thereby  setting  sky  and  earth  on  fire,  and  getting 
pitched  headlong  down  upon  the  ground ;  while  the  too 
yielding  sire  was  left  to  repair  damages ! 

Now  all  who  would  become  copartners  with  the  sun, — 
as  every  heliographer  must  do, — had  best  ponder  this 
wise  old  Greek  myth.  Its  meaning,  anglo-saxonized,  is 
"  mind  your  own  business," — "  let  the  cordwainer  stick 
to  his  last,"  &c. 

If  I  have  spoken  with  seeming  severity,  be  it  noted  I 
am  battling  for  a  noble  art  which  has  been  desecrated 
by  a  host  of  incompetents  and  charlatans ;  invaders  of  its 
fair  precincts  for  the  ignoble  purpose  of  escaping  manual 
labor.  As  if  what  occupied  the  hands  of  both  the  "  first 
and  the  second  Adam,"  were  a  thing  so  disreputable  as 
to  be  shunned  at  whatever  cost ! 

That  all  intelligent  readers  will  appreciate  and  endorse 
my  suggestions,  I  feel  quite  sure.  Upon  the  dull  and  the 
malignant  I  have  no  words  to  waste. 

Let  me  subjoin  a  few  qualifying  remarks  to  remove 
the  appearance  of  having  contradicted  myself  and  familiar 
fact. 

Thus,  I  said  that  the  artist,  being  a  secondary  creator, 
should  tread,  as  nearly  as  practicable,  in  the  footprints 
of  the  Divine  Proto- Artist. 

But,  if  such  be  truth,  what  shall  be  said  of  historic 
and  ideal  pictures  ?  For  Rafiaelle,  Correggio,  and  many 
other  of  the  world's  most  eminent  artists,  have  produced 
portraits  of  the  "  Man  of  Sorrows ;"  of  the  Virgin 
Mother ;  of  the  Apostolic  Twelve ;  of  angels,  &c.,  &c. 
Sere,  of  course,  they  could  not  copy  the  seen  workman- 
ship of  the  Divine  Artist. 


EXPRESSION — THROUGH  THE  FACE.  149 

Let  me  attempt  to  solve  this  seeming  enigma. 

The  Creator  gives  us  many,  if  not  most  things,  not  in 
a  finished  state,  but  in  "the  rough,"  as  we  call  it.  By 
our  own  efforts  we  may  vastly  improve  them,  or  may 
reshape  them,  and  thus  fit  them  for  our  uses.  By  these 
self-same  efforts,  the  while,  we  develop  and  discipline  our 
own  faculties. 

To  apply  these  suggestions  to  the  case  in  hand,  let  me 
remark,  that  I  have,  all  along,  been  considering  how  it  is 
that  the  painter  or  the  heliographer  reproduces,  in  the 
pictured  face,  the  soul  or  individuality  of  his  sitter — the 
latter  being  present  and  living.  All  the  foregoing  pages 
were  devoted  to  this  point, — the  historic  or  ideal  in  por- 
traiture having  no  share  therein. 

A  few  hints,  however,  on  this  species  of  portraits 
may  not  be  amiss. 

What,  then,  are  the  historic  and  the  ideal  in  portrait- 
ure ?  Whether  they  are  different  species,  or  one  species 
under  different  titles,  needs  not  here  be  settled. 

I  alluded  above  to  the  representations  of  the  Christ, 
of  the  Virgin,  &c.,  by  the  great  Italian  and  other  masters. 
Why  did  they  assume  to  paint  pictures  so  named,  when 
they,  of  course,  never  saw  the  originals  ? 

I  suppose  their  intent  was  simply  and  solely  to  present, 
in  visible  shape,  an  image  of  the  qualities  belonging  to 
the  individuals  delineated.  The  degree  of  their  success 
in  this  venturous  endeavor  must  be  measured  by  the 
closeness  of  coincidence  between  this  image  and  the  im- 
pression made  upon  the  intelligence  and  feeling  of  accom- 
plished connoisseurs  by  the  chronicles  narrating  the 
words  and  deeds  of  such  individuals. 

" Hence,"  says  an  intelligent  critic,  "the  necessity  of 
the  artist's  possessing  genius  competent  to  appreciate 
the  distinguishing  qualities  of  the  character  to  be  repre- 


150  THE  CAMEKA.  AND  THE  PENCIL. 

sented.  EaflPaelle  and  Albert  Durer,  both  men  of  eminent 
genius,  were  jet  of  different  mental  conformation.  Hence, 
Durer's  representations  of  Christ  realize,  perhaps,  more 
truly  than  Eaffaelle's,  or  those  of  any  other  painter  on 
record,  the  'Man  of  Sorrows,'  while  Eafifaelle,  with  not 
less  truth  and  genius,  has  rather  delighted  to  picture  him 
as  'fairer  than  the  sons  of  men,  the  chief  among  ten  thou- 
sand, the  One  altogether  lovely.'  " 

If  we  are  malcontent  with  even  the  noblest  existing 
representations  of  the  Divine  ISTazarene,  let  us  not  be  so 
unjust  as  to  blame  the  Artist.  For  how  can  the  finite 
grasp  the  indefinable  ? 

I  have  never  yet  seen  a  picture  of  "  the  Virgin,"  which 
did  not  disappoint  me.  Indeed,  how  cotdd  the  pictured 
conception  of  a  single  mind  make  visible  to  us  our 
indefinite  idea  of  a  being,  occupying  a  position  so  exalted 
and  momentous  in  the  history  of  humanity  on  earth  and 
even  beyond  it  ? 

So  much  for  what  I  have  entitled  Ideal  portraiture. 
Historic  portraiture,  I  suspect,  is  but  Ideal  portraiture, 
differently  named. 

In  limning  a  historic  scene,  I  suppose  the  artist,  if 
possessing  any  authentic  materials,  endeavors  to  obtain 
from  them  the  ground-plan  of  his  hero's  face  and  form, 
and  then  to  fill  out  this  plan  so  as  to  image  the  qualities 
of  the  individual, — paying,  the  while,  but  scant  regard 
to  any  special  features,  which  might  seem  not  to  accord 
with,  or  positively  to  negative  the  fact  of  his  heroism. 

"Compare,"  says  the  critic  just  quoted,  "the  very 
different  (pen  and  ink)  portraits  given  of  the  same  persons 
by  Clarendon,  Hume,  Scott,  Macaulay,  &c. ;  owing 
doubtless  not  less  to  the  differing  mental  conformation 
of  these  authors,  than  to  their  educational  prejudices  and 
their  political  biases." 

Once  surveying  our  Rothermel's  fine  picture  of  Patrick 


EXPRESSION — THROUGH  THE  FACE.  151 


Henrj  addressing  tlie  Virginia  House  of  Delegates,  I 
asked  him,  "if  that  was  an  authentic  portrait  of  the  great 
orator?" 

"It  is  a  historic  portrait,"  was  the  artist's  response, — a 
confirmation,  the  reader  will  perceive,  of  the  suggestions 
presented  above. 

In  portraying  "Macedonia's  madman,"  or  Hannibal,  or 
Julius  Cgesar,  &c. — supposing  no  reliable  portraits  of  them 
to  have  come  down  to  us — the  historic  becomes,  of  neces- 
sity, the  purely  ideal  painter ;  since,  in  striving  to  repre- 
sent the  faces  and  forms  of  his  subjects,  he  is,  and  must 
be,  guided  solely  by  his  conception  of  their  attributes. 

Where,  however,  as  in  the  case  of  Washington,  or 
Franklin,  or  Napoleon,  authentic  portraits  are  extant, 
the  question  may  arise,  whether  the  historic  painter  is 
bound  to  adhere  rigorously  to  these  representations. 

I  think  not.  I  hold  that  he  may  exalt  and  idealize 
these  literal  transcripts,  if  this  be  required  for  repre- 
senting more  perfectly  their  qualities  and  achievements. 

Note,  for  example,  the  familiar  picture  of  Napoleon 
crossing  the  Alps.  You  here  behold  a  superb-looking 
man  bestriding  a  magnificent,  high-rearing  battle-charger. 
Whereas,  in  literal  verity,  the  Napoleon  of  that  date  and 
that  scene  was  a  hatchet- faced,  tangle-haired,  yellow- 
skinned  youngster,  who,  occasionally  walking,  for  most 
of  the  time  bestrode  a  little  donkey  instead  of  a  genuine 
Bucephalus ! 

Nevertheless  that  picture  makes  perceptible  an  essen- 
tial, undeniable  truth,  i  e.,  the  existence  in  its  subject  of 
those  wondrous  qualities  which,  while  he  was  at  large, 
kept  a  quarter  part  of  our  globe  in  vehement  commotion ; 
and  even  when  he  was  islanded  1200  miles  from  the 
nearest  mainland,  and  there  girt  by  hostile  bayonets, 
compelled  the  whole  of  armed  Europe  "  to  sleep  with  one 
eye  open!" 


152         THE  CAMERA  AND  THE  PENCIL. 

Were  an  artist  about  attempting  to  idealize  a  portrait 
of  Washington,  might  he  not  borrow  some  inspiration 
for  his  work  from  the  following  remarks  of  Lord 
Brougham  ? 

"  In  Washington  we  may  contemplate  every  excellence, 
military  and  civil,  applied  to  the  service  af  his  country 
and  of  mankind ;  a  triumphant  warrior,  unshaken  in  confi- 
dence when  the  most  sanguine  had  a  right  to  despair ;  a 
successful  ruler  in  all  the  difficulties  of  a  course  wholly 
untried;  directing  the  formation  of  a  new  government 
for  a  great  people,  the  first  time  so  rash  an  experiment 
had  ever  been  tried  by  man ;  voluntarily  and  unostenta- 
tiously retiring  from  supreme  power  with  the  veneration 
of  all  parties,  of  all  nations,  of  all  mankind,  that  the 
rights  of  man  might  be  conserved,  and  that  his  example 
might  never  be  appealed  to  by  vulgar  tyrants.  It  will 
be  the  duty  of  the  historian  and  the  sage,  in  all  ages,  to 
omit  no  occasion  of  commemorating  this  illustrious  man ; 
and,  until  time  shall  be  no  more,  will  a  test  of  the  pro- 
gress made  by  our  race  in  wisdom  and  virtue  be  derived 
from  the  veneration  paid  to  the  immortal  name  of 
Washington."* 

Having  thus  spoken  of  expression  through  the 
medium  of  the  face,  I  shall  proceed  in  the  next  chapter 
to  speak  of  expression  through  the  form  and  its  be- 
longings. 

*  Long  after  penning  the  above  sentences,  I  met  with  the  following  remarks 
of  Quatremire  de  Quincy,  which  strikingly  confirm  the  doctrine  there  ad- 
vanced. 

"  Though  Alexander  is  described  by  his  historians  as  of  a  diminutive  height, 
the  liind  of  truth  required  in  the  historical  style  would  by  no  means  render  it 
necessary  that  he  should  be  represented  in  the  midst  of  his  companions  in 
arms  under  inferior  proportions.  That  painter  would  evince  a  false  respect 
for  truth,  who  should  represent  Hannibal  with  but  one  eye,  and  Marshal 
Vendome  hump-backed." 


CHAPTER  XIX. 

EXPRESSION — THEOUGH  THE  FACE  AND  FIGURE. 

Not  the  face  only,  but  the  whole  body,  its  attitudes,  movements,  &c.,  are 
vehicles  of  expression — M.  Angelo,  Raffaelle,  Hogarth,  Lawrence,  and  Gil- 
bert Stuart,  famed  as  expressionists — Skilled  in  calling  up  in  sitter  best 
expression — Mode  of  doing  this — Anecdote  of  Mr.  Clay,  and  the  taking  of 
his  daguerreotype  in  1S48 — Poor  portraits  of  Clay,  Webster,  &c.,  especially 
of  the  last-named — Sydney  Smith's  remark — Webster's  speeches  on  Boston 
Common  and  Bunker  Hill — Lafayette — Surviving  veterans  of  Bunker  Hill 
Battle — Sir  Charles  Bell  on  anatomy  of  expression — Sonnet  of  Judge  Con- 
rad— Modes  of  rousing  expression  in  sitters — An  actor — A  lady  as  nun — 
Anecdote  of  Washington,  when  being  painted  by  Stuart — Interesting  facts 
of  the  taking  of  Washington's  portraits  by  Stuart  and  Peale — Bishop 
White — Posture  in  representing  statesmen  and  other  public  speakers — In 
representing  literary  persons — Irving,  Brj'ant,  Longfellow,  Dickens — Cos- 
tume and  accessories — Swedenborg's  theory  of  "sjiheres" — Effect  of  the 
presence  of  various  classes  of  persons  on  others — Remarks  of  a  venerable 
artist. 

In  the  preceding  chapter,  I  spoke  exclusively  of  tlie 
face  as  a  vehicle  of  expression.  The  face,  hoAvever,  is 
but  one  among  several  mediums  whereby  the  soul  mani- 
fests itself  to  the  beholder.  The  whole  body,  with  its 
various  attitudes  and  movements,  subserves  the  same 
purpose. 

I  design,  in  this  chapter,  to  treat  at  some  length  of 
corporeal  expression,  and  to  present  some  suggestions 
applicable  to  all  branches  of  the  general  subject. 

Michael  Angelo  and  Raflfaelle,  Hogarth  and  Law- 
rence,— to  whom  we  may  justly  add  our  own  Gilbert 

(153) 


154  THE  CAMERA  AND  THE  PENCIL. 

Stuart, — were  preeminently  gifted  with  the  power  to  call 
up  in  the  original  the  expression  desired,  as  also  to  seize 
and  transfer  it  to  the  canvas.  In  short,  they  were  veri- 
table men  of  genius,  qualified  to  confer,  on  equal  terms, 
with  the  largest  and  loftiest  intellects,  and  to  catch  and 
fix  the  flashes  of  the  divine  fire  sparkling  in  the  eyes 
and  radiating  from  the  faces  of  their  subjects,  when  these 
were  in  their  most  elevated  and  genial  moods.  Unde- 
niably it  was  with  them  a  leading  object,  during  every 
session,  to  awaken  these  moods  in  their  sitters ;  and  this 
object  they  strove  to  secure  by  their  own  conversational 
powers,  and,  when  possible,  by  those  of  others,  who 
might  be  present. 

What  a  pity  that  such  artists  could  not  have  been 
employed  to  perpetuate  the  faces  and  forms  of  several 
eminent  countrymen  of  ours,  who  have  recently  passed 
from  this  mortal  stage !  Is  it  not  deplorable  that,  of 
existing  portraits  of  men  of  this  order, — especially  those 
transferred  from  heliographs, — so  very  few  display  that 
intelligent,  spirited,  noble  cast  of  countenance  which  we 
instinctively  ascribe  to  the  originals,  and  which  properly 
signalizes  true  greatness?  Who  can  doubt  that  these 
countenances  would  have  displayed  such  a  cast,  had  the 
minds  of  the  originals  been  suitably  aroused  at  th(j  time 
of  the  pictures  being  taken,  by  those  manifold  expedients, 
conversational  and  other,  which  the  veritable  artist,  and 
he  alone,  can  employ  ? 

As  an  illustration  of  what  may  be  effected  by  these 
expedients,  let  me  introduce  the  following  anecdote. 

In  1848,  an  appointment  being  made  for  my  taking 
the  daguerreotype  of  Henry  Clay,  I  requested  the  mayor 
of  our  city  and  the  sheriff  of  the  county,  together  with 
several  other  of  Mr.  Clay's  friends,  who  were  present,  to 
keep  the  statesman  in  brisk  conversation  till  I  was  ready 


EXPRESSION — THROUGH  THE  FACE  AND  FIGURE.      155 


to  expose  tlie  plates  to  the  image ;  as  I  wished  to  catcli 
the  intellectual,  lively  look  natural  to  him  under  such 
conditions. 

The  mayor,  turning  to  Mr,  Clay,  said,  "Mr.  Eoot 
desires  us  to  continue  talking,  as  he  wishes  to  daguerreo- 
type your  thoughts;  to  catch,  if  possible,  your  very 
smiles." 

"  Smiles  !"  exclaimed  Mr.  Clay, — "  I  can  give  him 
frowns,  if  he  wants  them ;"  upon  which  he  smiled,  while 
his  face  was  radiant  with  intelligence  as  well.  And  in 
twenty  seconds  three  good  portraits  were  taken  at  once ; 
the  plates  were  removed  from  the  instruments  and  four 
fresh  ones  got  ready.  In  a  few  seconds  more,  Mr.  Clay 
the  while  conversing  pleasantly  with  his  friends,  all  else 
was  prepared,  and  then  his  likeness  again  was  daguerreo- 
typed  by  four  cameras  at  once ;  all  representing  him,  as 
we  then  saw  him  engaged  in  conversation,  mentally 
aroused,  and  wearing  a  cheerful,  intellectual,  and  noble 
expression  of  countenance.  Thus  seven  portraits  were 
taken  in  but  thirteen  minutes, — with  such  success,  too, 
that  Mr.  Clay  remarked,  after  inspecting  them : — 

"  Mr.  Eoot,  I  consider  these  as  decidedly  the  best  and 
most  satisfactory  likenesses  that  I  have  ever  had  taken, 
and  I  have  had  many."  These  words  he  left  in  my 
register  with  his  autograph. 

One  of  these  portraits  has  since  been  engraved,  as  the 
finest  likeness  of  him  extant ;  and  may  be  seen  in  the 
"Portrait  Gallery  of  American  Statesmen,"  published 
by  Messrs.  Eice  &  Hart,  successors  to  J.  B.  Long- 
acre,  Esq. 

To  recur,  for  a  moment,  to  the  subject  I  was  consider- 
ing prior  to  the  introduction  of  this  anecdote,  numbers 
of  the  heliographs  of  our  eminent  men,  members  of 
Congress,  and  others,  taken  by  unthinking,  machine-like 


156         THE  CAMERA  AND  THE  PENCIL. 

operators,  actually  look  as  if  tlie  originals  contemned  the 
art,  and  had  no  faith  in  the  ability  of  the  individual  to 
whom  they  had  consented  to  give  their  time,  and  were 
sorely  afflicted  by  the  process  of  sitting. 

As  specimens  of  portraitive  abortions,  I  may  instance 
several  which  purport  to  reiaresent  "Webster,  Clay,  Jack- 
son, Taylor,  Everett,  &c.  Eepresent !  Possibly  they 
'may  represent, — though  even  that  very  inadequately, — 
the  perishable  material  organism.  But  for  all  else  than 
this,  like  the  poet, 

"  We  start,  for  soul  is  wanting  there  !" 

I  think  none  of  these  abortive  pretensions  affect  me 
so  painfully  as  a  (so-named)  portrait  of  Webster  which 
is  often  to  be  met  with.  That  magnificent  frame  seems 
languid,  relaxed,  drooping,  and  as  if  ready  to  sink  down 
into  a  boneless  heap ;  while  the  august  face,  so  fitted  to 
ray  out  the  highest,  and  largest  intelligence,  conjoined 
with  overmastering  power,  exhibits,  in  the  dull,  vacant 
gaze  and  the  corners  of  the  mouth  drawn  down,  an 
aspect  of  feebleness  and  listlessness,  both  physical  and 
mental,  a  malcontent  gloom,  and  a  lack  of  interest  in 
all  existing  things. 

Now  that,  in  certain  abnormal  moods,  Webster  might 
have  looked  somewhat  as  here  depicted,  is  not  wholly 
improbable. 

But  suppose  he  did.  Was  such  the  look  which  artists 
like  those  above  enumerated,  would  have  sent  into  the 
world,  to  pass  with  cotemporaries  who  were  strangers  to 
the  grand  originals,  as  also  with  far  posterity,  as  a  true 
"presentment"  of  one  of  fame's  immortals? 

What  would  that  prince  of  wits,  Sydney  Smith,  have 
said  of  this  (so-called)  authentic  portrait  of  the  states- 
man ? — he   who,   on   seeing   Webster   in   England,  ex- 


^n^ravdd-  iu  Jo?ui.  S/irfuin-.  F/u?" 


^^i^-^z/-  ^^^/i^ 


after  Dag'  by  J.AiWhipple. 


EiPEESSION — TllEOUGH  THE  FACE  AND  FIGUEE.      157 

claimed,  "  What  a  magnificent  head ! — what  a  noble 
figure ! — what  dignity  of  demeanor  and  movement  are 
his !     He  reminds  me  of  a  small  cathedral !" 

In  truth,  that  impotent-looking,  dismal  shadow  bears 
but  a  faint  resemblance  to  the  original  I  was  privileged 
to  see  and  hear,  on  two  or  three  public  occasions,  some 
years  ago. 

One  of  these  was  when,  from  an  elevated  platform  on 
Boston  Common,  he  addressed  a  vast  and  sympathizing 
auditory  on  sundry  themes  of  national  interest.  One  of 
the  subjects,  on  which  he  dilated  largely,  was  the  patri- 
otic career  of  Henry  Clay,  with  the  many  important  ser- 
vices that  marked  that  career. 

Many  causes  conspired  to  rouse  into  energetic  action 
his  whole  faculties  of  mind  and  body. 

Thus,  the  importance  of  his  topics,  urgently  appeal- 
ing, as  they  did,  to  those  patriotic  sentiments  which  were 
among  the  strongest  in  his  nature ;  the  aspect  of  the 
multitudinous  throng  drinking  eagerly  in  every  syllable 
from  his  lips,  and  sending  up  frequent  thunder-bursts  of 
approving  acclamation,  which  were  reechoed  from  those 
hills,  so  memorable  both  in  history  and  tradition,  as  en- 
circling the  nursery-field  of  the  revolution ;  and  finally  the 
simple  fact  that  he  was  under  full  sail,  with  a  smart  breeze, 
on  his  proper  element,  which  was  to  harangue  popular 
bodies  on  great  and  absorbing  subjects, — all  these  cir- 
cumstances, combined  with  the  operation  upon  him  of 
what  may  be  termed  the  concentrated  magnetism  of  the 
enthusiastically  sympathizing  crowd,  had  the  effect  so 
coveted  by  every  public  speaker,  i.  e.,  to  rouse  his 
entire  nature  into  the  intensest  activity. 

By  consequence,  you  then  and  there  beheld  the  veri- 
table Webster,  "  one  and  indivisible."    No  words  of  mine 


158  THE  CAMEEA  AND  THE  PENCIL. 

could  image  his  appearance  on  the  occasion.    It  were  the 
appropriate  work  for  a  first-class  painter  or  sculptor. 

Suffice  it  for  me  to  say,  that  not  alone  the  eyes,  face, 
and  head  of  the  orator,  but  the  form,  with  every  indi- 
vidual limb  and  muscle,  were  intensely  alive  with  expres- 
sion. The  spectacle  verified  Shakspeare's  saying  about 
the  Grecian  coquette, 

"  Her /oo<  speaks." 

A  second  occasion,  whereon  thousands  saw  and  heard 
the  orator,  was  more  striking  still.  It  was  at  the  laying 
of  the  corner-stone  of  the  Bunker  Hill  Monument ;  when, 
standing  on  that  immortal  battle-ground,  he  addressed 
an  immense  multitude,  among  whom  were  most  of  the^ 
few  surviving  veterans  of  that  conflict,  and  the  "nation's 
guest,"  Lafayette, 

The  associations  of  the  spot  were  of  a  quality  that 
could  hardly  be  paralleled,  or  even  approached,  other- 
where. I  shall  merely  glance  at  these,  and  then  leave  to 
my  reader  to  imagine  what  must  have  been  their  influence 
upon  him  who  was,  that  day,  the  cynosure  of  all  eyes. 

He  stood  upon  that  spot  where  the  revolution,  with 
all  its  stupendous  and  beneficent  issues,  was  transmuted 
from  a  doubt,  a  trembling  hope,  into  a  certainty,  a  solid, 
inexpugnable  fact ;  and  where  young  Independence  was 
baptized  in  a  tide  of  the  noblest  blood  of  pilgrim-planted 
Massachusetts,  and  of  the  New  Continent.  It  was  a  spot 
where  the  mind  was  moved  to  expatiate  over  the  whole 
varied  fortunes  of  that  terrible  eight-years'  contest, 
wherein,  virtually,  "one  chased  a  thousand,  and  two  put 
ten  thousand  to  flight ;"  upon  its  desperate  straits  and 
intervals  of  midnight  darkness ;  and  upon  its  occasional 
gleams  of  succeSs,  brightening  and  broadening  more  and 
more,  till  uprose  at  last,  the  full,  unclouded  day-star  of 


EXPRESSION — THROUGH  THE  FACE  AND  FIGURE.     159 

triumph,  whereby  "the  little  one  became  a  thousand, 
and  the  small  one  a  strong  nation." 

Before  him  were  the  battered  human  reliques  of  that 
sanguinary  fight,  appealing  to  all  the  higher  feelings  of 
the  American  bosom.  Before  him,  too,  was  the  revered 
hero  of  almost  fabulous  experiences  ;  once  the  boy-friend 
of  Washington,  and  summoning  before  imagination's 
eye  that  august,  majestic  presence ;  a  brave  warrior 
and  leading  actor  in  the  revolutions  of  two  continents ; 
and  now  come  over  the  ocean  as  the  enthusiastically 
honored  guest  of  a  people  who  thus,  "  in  their  day  of 
greatness,  and  with  the  outstretching  of  manly  arms, 
welcomed  him  who  had  supported  their  tottering  in- 
fancy." 

And  for  this  picture,  so  crowded  with  all  kindling 
memories  and  thoughts,  what  an  appropriate  setting  was 
supplied  by  that  unmatched  panoramic  landscape  which 
spread  around  the  sacred  hill,  whose  every  rood  was 
memorable  for  those  incidents  of  high-souled  perform- 
ance and  endurance  which  glorify  our  common  nature ! 

Let  the  reader  imagine,  as  well  as  he  may,  what  the 
effect  must  have  been  of  these  excitants  upon  the  orator's 
high-toned  mind  and  heart,  and  how  vividly  this  effect 
must  have  showed  itself  through  his  rarely  moulded 
organs  of  expression. 

And  while  his  imagination  is  thus  occupied,  let  him 
also  call  up  other  instances  of  Webster's  standing  for- 
ward as  the  mouthpiece  of  grand  occasions  ;  such  as  the 
bi-centennial  anniversary  of  the  Pilgrims'  landing  at 
Plymouth,  the  nullification  conflict  in  the  national  Senate, 
the  completion  of  the  Bunker  Hill  Monument,  &c.,  &c. 
And  I  dare  affirm,  without  qualification,  that  the  reader's 
conclusion  will  be,  that  the  picture  above  mentioned,  so 
far  from  being  a  faiihful  representation  of  its  pretended 


160         THE  CAMEEA  AND  THE  PENCIL. 

original,  is  a  gross  libel  thereon,  and  richly  deserving 
of  indictment. 

I  have  employed  the  instance  of  Webster  to  illustrate 
the  principle  I  am  discussing,  simply  because  I  have 
been  more  familiar  with  his  public  appearances  than 
with  those  of  his  distinguished  compeers.  My  remarks, 
however,  equally  apply  to  Clay  and  Calhoun,  to  Preston 
and  Everett,  and  to  numbers  beside.  Whoever  has  heard 
these,  when  aroused  by  momentous  occasions  and  themes ; 
and  has  noted  how  every  corporeal  movement,  as  well  as 
flash  of  the  eye  and  shadow  upon  the  face,  has  helped  to 
intensify  the  power  of  their  utterances,  will  concede  the 
truth  of  my  suggestions  about  expression  and  its  various 
modes. 

But  what  is  the  fault  or  deficiency  of  the  Webster 
portrait  above  spoken  of? 

Simply  and  solely  the  want  of  expression,  i.  e.  of 
livingness ;  of  that  individuality  which  differences  one 
human  being  from  each  and  every  other. 

In  Sir  Charles  Bell's  Treatise,  entitled  "  The  Anatomy 
of  Expression,"  we  have  what  may  be  styled  the  material 
rationale  of  expression,  both  facial  and  corporeal.  He 
has  discovered  a  vast  network  of  nerves  which,  by  their 
varied  action  upon  the  muscles,  serve  to  image  forth  all 
the  diverse  passions  and  emotions  originating  in  the 
mind, — each  having  a  movement  or  posture  correspond- 
ing to  and  representing  it.  These  nerves  do  not  spread- 
over  the  face  exclusively ;  but  also  over  the  entire  neck 
and  chest,  and  thence  through  the  total  frame.  So  that 
vehement  feeling,  or,  in  fact,  any  feeling  that  rises  much 
above  the  average,  is  not  revealed  by  the  face  alone,  but 
by  all  parts  of  the  body  as  well. 

The  i^Aere/bre  of  this  anatomy  shows.  "It  is  curious," 
remarks  Sir  Charles,  "that  expression  appears  to  precede 


EXPRESSION — THROUGH  THE  FACE  AND  FIGURE.     161 


the  intellectual  operations.  The  smile,  that  dimples  an. 
infant's  cheek,  and  which,  in  after  years,  corresponds 
with  pleasurable  and  complex  emotions,  cannot  originate 
from  such  emotions,  for  it  is  not  first  seen  when  the 
infant  is  awake,  but  often  while  asleep.  This  expression 
is,  in  fact,  the  spontaneous  operation  and  classification 
of  the  muscles  which  await  the  development  of  the  facul- 
ties to  accompany  them  closeh'',  when  they  do  arise,  and 
in  some  measure  to  control  them  during  life."  \_See 
pp.  198-9.] 

From  what  has  been  said,  the  conclusion  is  urged 
irresistibly  upon  us,  that  expression  is  a  sine  qua  non 
towards  displaying  what  a  man  really  is,  whether  in  an 
original  or  a  portrait.* 

I  have  suggested  certain  means  of  arousing,  in  the 
individual  to  be  portrayed,  the  expression  desired  at  the 

*  As  apropos  to  the  subject  I  am  discussing,  I  trust  I  may  be  pardoned  for 
introducing  here  the  opinion  of  a  connoisseur  and  a  poet,  (the  late  Judge 
Conrad)  upon  the  expressiveness  of  a  heliograph.     It  is  entitled 

SONNET 

ON  root's  daguerreotype  op  MR.  FORREST. 

"Light-born  and  limned  by  Heaven !     It  is  no  cheat, 

No  image;  but  himself,  his  living  shade  ! 
With  hurried  pulse  the  heart  leaps  forth  to  greet 

The  man,  who  merits  more  than  Tully  said 
Of  his  own  Roscius, — that  the  histrion's  power 

Was  but  a  leaf  amid  his  garland  wreath  ; 
His  swaying  spirit  ruled  the  magic  hour. 

But  his  vast  virtues  knew  no  day,  no  death. 
He  seems  not  now,  but  is.     And  I  do  know, 

Or  think  I  do,  what  meaning  from  those  lips 
Would  break ;  and  on  that  bold  and  manly  brow 

There  hangs  a  light,  that  knows  not  an  eclipse. 
The  light  of  a  true  soul.     If  art  can  give 
The  bodied  soul  this  life,  who  doubts  the  soul  will  live?" 
11 


162  THE  CAMERA  AX])  THE  PENCIL. 


moment  of  portrayal.     There  are  otlier  means,  which 
may  be  of  service  to  the  same  end. 

Thus ;  learn,  if  possible,  what  pursuits,  or  class  of 
thoughts  most  interest  the  sitter.  These  may  be  what 
occupy  his  time  chiefly,  or  upon  occasion  merely.  Hav- 
ing learned  this,  endeavor,  so  far  as  may  be,  to  awaken 
in  him  the  thoughts  referred  to,  as  then  the  corresponding 
expression,  be  it  of  face  or  form,  or  of  both,  will  appear 
spontaneously. 

An  experiment  or  two,  made  by  myself,  will  illustrate 
my  meaning. 

.  I  was  required  to  portray  a  distinguished  actor,  as 
representing  Othello,  in  a  scene  of  the  drama  so  named. 
At  first,  the  actor,  being  wholly  unexcited,  bore  not  the 
slightest  resemblance  to  the  "jealous  Moor."  Observing 
this,  I  requested  him  to  throw  himself,  by  a  strenuous 
act  of  imagination,  into  the  personality  of  Othello,  just  as 
he  was  wont  to  do  on  the  stage.  In  making  the  trial, 
he  walked  to  and  fro,  for  some  time,  mentally  rehearsing 
the  part,  till  he  had  succeeded  in  calling  up  the  expres- 
sion desired,  which  I  transferred  perfectly  to  the  plate. 
The  picture  told  the  story  distinctly  and  fully. 

So,  on  being  requested  to  represent  a  lady,  as  a  nun 
in  the  act  of  prayer,  I  proposed,  that  she  should  assume 
a  kneeling  posture  and  put  up  a  fervent  mental  petition. 
She  complied ;  and  her  face  soon  exhibited  an  expression 
of  devout  thought  and  emotion,  which  I  succeeded  in 
impressing  upon  the  plate. 

As  a  further  illustration,  I  subjoin  an  anecdote  which 
Bishop  White  used  to  relate,  and  which  he  had  from  our 
eminent  portraitist,  Grilbert  Stuart. 

The  latter,  being  engaged  in  taking  a  portrait  of 
Washington,  endeavored,  according  to  his  custom,  to 
summon  into  the  hero's  countenance  its  most  interested 


EXPRESSION — THROUGH  THE  FACE  AND  FIGURE.     163 

and  noblest  expression.  In  so  doing,  he  alluded  to 
Braddock's  defeat,  to  tlie  crossing  of  tlie  Delaware,  to 
Yalley  Forge,  &c.,  &c.  It  was  all  in  vain.  Washing- 
ton's face  remained  listless,  and  finally  became  even 
depressed.  Well  nigh  discouraged,  the  artist  at  last 
bethought  himself  of  referring  to  "  Old  "Virginia,"  its 
rural  life  and  sports,  its  peculiar  customs,  &c.,  &c. 

Instantly  the  sitter's  face  lighted  up,  and  he  struck 
into  a  conversation  upon  these  topics  with  keenest  zest 
and  animated  interest.  And  thus  Stuart  was  enabled  to 
catch  that  fugitive  somewhat  which  threatened  to  elude 
him,  and  to  produce  the  portrait  which  has  ever  since 
been  esteemed  a  model. 

This  anecdote  was  related  to  Bishop  White  by  Stuart, 
while  the  latter  was  painting  the  former's  portrait, — 
related,  J;oo,  for  the  very  purpose  of  enkindling  the  mind 
of  the  excellent  prelate ;  an  effect,  we  may  be  assured, 
it  produced. 

Possibly  it  may  not  be  generally  known  that  Wash- 
ington and  Bishop  White  were  warm  friends,  and  that 
the  latter  was  the  first  chaplain  in  Washington's  army. 

It  may  also  be  worth  recording  that  Eembrandt  Peale 
painted  Washington's  portrait  at  the  same  time  with 
Stuart ;  the  two  being  thus  engaged  on  alternate  days. 

Each  had  three  sittings  of  three  hours.  Peale  worked 
in  the  building  called  the  Philosophical  Hall,  now  owned 
and. occupied  by  the  American  Philosophical  Society,  on 
Fifth  street,  below  Chestnut,  and  standing  nearly  oppo- 
site Stuart's  room,  which  was  on  the  south-east  corner  of 
Fifth  and  Chestnut,  and  owned  by  William  Smith.  This 
was  in  1795.  Occupied  from  1846  to  1856  by  M.  A.  E., 
where  this  work  was  commenced. 

Stuart's  first  portrait  was  a  failure,  which  was  thus 
accounted   for: — Jay's    Treaty   was   yet   unsigned,  and 


164         THE  CAMERA  AND  THE  PENCIL. 


"Washington  felt  great  anxiety  on  the  subject.  This 
anxiety  was  heightened  by  the  appearance  of  certain 
anonymous  letters  which  were  charged  to  the  authorship 
of  Washington, — it  being  reported  that  they  were  found 
in  a  portfolio,  taken  from  a  runaway  servant  of  his.  At 
the  final  sitting,  Peale's  father  asked  Washington  if  he 
wrote  those  letters.  His  reply  was,  "'No  servant  of  mine 
ever  left  me, — no  portfolio  or  letters  of  mine  have  ever 
been  taken  from  me."  At  the  close  of  the  sitting,  the 
elder  Peale  at  once  reported  Washington's  disclaimer  all 
over  the  city ;  and  no  more  was  said  about  the  anony- 
mous letters  by  Washington's  enemies. 

Gouverneur  Morris  stood  to  Stuart  for  his  full  length 
portrait  of  Washington ;  while  the  outstretched  hand  of 
the  figure  was  painted  from  a  wax-cast  of  Stuart's  own 
hand.  These  facts  I  received  from  the  lips  of  the  vene- 
rable Eembrandt  Peale,  Esq.,  the  only  survivor  of  the 
many  artists  who  painted  Washington. 

To  take  a  good  full-length  standing  figure  of  a  public 
speaker,  or  even  of  a  private  gentleman,  so  that  the  pic- 
ture shall  express  the  true  character  of  the  individual, 
and  that  the  pose  shall  be  natural,  easy,  and  graceful,  will 
tax  the  highest  artistic  powers  of  an  experienced  operant. 

Small  full-lengths,  showing  the  feet  naturally  and 
happily  placed,  may  be  made  pretty  and  graceful  pic- 
tures. 

Larger  sizes,  in  which  a  faithful  likeness  is  the  prin- 
cipal desideratum,  may  be  taken,  while  standing,  nearly  as 
low  as  the  knees ;  or  even  below,  if  necessary  to  repre- 
sent faithfully  the  height  and  size  of  person. 

Ladies,  when  portrayed  standing,  should  be  taken  at 
full  length  ;  and  if  a  front  view  of  the  person  be  sketched, 
the  face  should  be  turned  away  ;  and  vice  versa.  Special 
care  should  be  used  to  secure  a  graceful  disposition  of 
their  hands  in  all  standing  figures. 


EXPEESSION — THROUGH  THE  FACE  AND  FIGURE.     165 

These  instances  suggest  the  propriety  of  representing 
statesmen,  lawyers,  clergymen,  and  public  speakers  gene- 
rally, in  a  standing  posture ;  since  in  that  posture  they 
usually  put  forth  those  efforts  which  stir  into  activity 
their  highest  and  best  faculties  both  of  mind  and  heart. 
It  is,  moreover,  in  that  posture  only  that  the  whole  hody 
cooperates  with  the  face  in  manifesting  outwardly  the 
soul  within. 

I  may  further  remark  that,  in  the  standing  position, 
the  falling  of  the  shoulders  imparts  to  the  head  most  of 
freedom,  grace,  and  dignity  of  movement. 

But  suppose  you  were  required  to  represent  a  his- 
torian or  a  poet,  a  romancer  or  an  editor ;  in  short,  any 
person  whose  chief  excitations  of  intellect  are  expe- 
rienced, and  his  favorite  labors  performed,  while  wield- 
ing the  pen  at  the  desk.  To  place  such  a  one  in  a 
standing  position  would  well  nigh  certainly  defeat  the 
end  desired ;  since  he  would  be  more  likely  to  feel  em- 
barrassed and  awkward  than  inspired  with  enthusiasm, 
in  consequence  of  the  novelty  and  strangeness  of  his 
attitude. 

Contrariwise,  you  should  place  your  subject  in  condi- 
tions which  may  remind  him  strongly  of  the  locality, 
with  its  accompaniments,  whence  thoughts  have  ema- 
nated, which  have  not  alone  exalted  and  thrilled  his  own 
soul  in  solitude,  but  which  may  have  illumined  and 
warmed  the  souls  of  myriads  who  never  saw  him ; 
whence,  too,  have  issued  forth  images  of  beauty  and 
grandeur  which,  while  delighting  himself,  may  also  have 
called  out  the  acclaims  of  admiring  and  raptured  mul- 
titudes. 

Thus,  in  representing  Washington  Irving,  who  would 
not,  if  possible,  call  up  in  him  the  precise  mental  mood, 
from  which  sprang  the  inimitable  "  History  of  New  Am- 
sterdam;" the  marvellous  tale  of  Rip  Van  Winkle;  the 


166         THE  CAMEEA  AND  THE  PENCIL. 

unmatched  adventures  of  Ichabod  Crane ;  the  chivalrous 
"Tales  of  the  Alhambra;"  and  the  countless  other  crea- 
tions, merry  or  pathetic,  which  have  unsealed  the  foun- 
tains alike  of  smiles  and  of  tears  in  the  bosoms  of  the 
dwellers  of  two  continents  ? 

Would  you  not  also  have  Bryant,  at  the  instant  of 
taking,  think  and  feel  just  as  when  the  august  panorama 
of  "  Thanatopsis"  unrolled  itself  before  his  inward  sight ; 
Longfellow  as  when  those  exquisite  melodies  of  his  "set 
themselves  to  music"  for  his  inward  hearing ;  and  Dickens 
as  when  he  accompanied  the  illustrious  "  Pickwick"  in 
his  desperately  adventurous  travels ;  or  attended  the  child- 
angel,  "Little  Nell,"  in  her  weary  earth-wanderings  to- 
ward that  not  untimely  grave,  which  unclosed  the  portal 
of  her  proper  home  in  the  highest  heaven  ?  And  Morris 
you  would  fain  behold  as  when  the  "Lines  to  my  Mother's 
Bible,"  or  of  "Woodman,  spare  that  Tree,"  swam  in  the 
tears  called  forth  by  grateful  memory,  as  he  traced  them 
upon  paper ;  and  Willis,  in  various  moods,  either  in  the 
person  of  David  bewailing  Absalom,  or  in  his  own  per- 
son annihilating  some  envious,  impudent  assailant. 

Such,  assaredly,  are  the  mental  states  which  you  would 
fain  produce  in  the  individuals  named,  for  the  suf&cient 
reason  that  they  stamp  the  noblest  attainable  expression 
on  the  face  and  the  form. 

Be  it  noted,  moreover,  that  among  the  subsidiary 
means  for  producing  such  states  are  the  posture,  the 
costume,  and  the  surroundings  generally. 

After  all,  however,  the  most  essential  of  all  requisites 
for  the  artist;  that,  without  which  all  qualities  else, 
backed  by  all  appliances,  are  of  little  avail ;  is  original 
genius.  And,  as  previously  hinted,  one  of  the  leading . 
traits  of  such  genius  is  a  power  of  acting  potently  on 
other  minds,  not  exclusively  by  thought  and  word,  but 


EXPEESSION — THROUGH  THE  FACE  AND  FIGURE.     167 

also  by  a  noiseless  influence  which^  for  lack  of  a  better 
term,  we  may  entitle  magnetism. 

According  to  the  greatest  of  modern  Mystics, — tlie 
Christian  Pythagoras, — every  human  is  encompassed  by 
a  so-named  "  sphere ;"  a  somewhat  corresponding  to  the 
fragrant  effluence  surrounding  the  rose-bush,  the  cinna- 
mon tree,  and  the  magnolia.  "  These  spheres"  (he  says) 
"  encompass  all  spirits,  flowing  forth  from  the  life  of  the 
affections,  and  of  the  thoughts  derived  thence."  "  Sym- 
pathy between  different  persons  results  from  a  similitude 
between  their  spheres,  and  anti'pathy  from  dissimilitude^ 

Now  whether  this  philosopher  be  right  or  wrong  in 
the  precise  items  of  his  theory,  all  experience  evinces  that 
there  is  a  somewhat  exhaling  from  every  person,  which, 
apart  from  both  his  acts  and  his  words,  exerts  a  certain 
influence  and  makes  a  certain  impression  upon  others, 
despite  his  own  volition  or  wish,  and  without  volition  or 
wish  on  their  part. 

Thus,  the  mere  presence  of  some  individuals  is  repres- 
sive, depressive,  and  even  stupefying  to  those  in  their 
company. 

Of  others  the  same  simple  presence  is  enlivening,  ani- 
mating, rousing,  kindling. 

Others  again  there  are,  in  whose  society  our  worst 
feelings  are  stirred  into  tormenting  activity. 

And  there  exist  still  others,  in  whose  companionship 
our  whole  better  nature  is  wakened  and  exalted  into 
active  predominance. 

All  this,  I  repeat,  is  matter  of  our  daily  experience. 

Now  it  is  a  known  property  of  genius  to  act  powerfully 
on  men's  minds  either  for  good  or  for  evil.  Suppose, 
then,  an  artistic  genius  to  be  united  with  those  moral 
attributes  which  elsewhere  I  have  spoken  of  as  essential 
to  eminence  in  art,  it  is  obvious  that  the  influence  of  an 
individual  thus  dowered  must  be  very  potent  upon  those 


168         THE  CAMEEA  AND  THE  PENCIL. 


with  "whom  he  comes  in  contact.  It  is  on  this  account 
that  I  have  insisted  so  strongly  upon  the  necessity  of 
genius  to  all  such  as  venture  to  imitate  the  Divinity  in 
His  work  of  creation. 

If,  however,  it  be  concluded  that  the  portraitist,  in 
whatever  kind,  should  possess  alike  genius  and  culture, 
it  is  not  my  humble  self  who  exact  these  high  attributes, 
but  the  very  nature  of  the  pictorial  and  plastic  arts. 

How  severely  these  requisitions  must  press  upon  the 
heliographer,  whose  process  is,  of  necessity,  restricted  to 
a  few  brief  moments,  is  obvious  enough.  And  the  more 
severely  still,  since  to  these  high  powers  must  be  added 
that  electric  celerity  of  thought  and  performance  which 
is  among  the  rarest  of  human  endowments. 

Among  the  many  difficulties  he  must  cope  with,  by  no 
means  the  slightest  consists  in  the  temperaments  of  his 
subjects.  Pithily  remarks  Sir  Charles  Bell,  "  one  man 
is  so  constituted  that  he  will  have  his  joke,  though  it 
may  hurt  his  dearest  friend;  and  another  has  so  little 
imagination  that  even  in  the  delirium  of  fever  he  is 
dull." 

In  a  recent  conversation  with  a  venerable  artist  of 
much  distinction,  he  made,  substantially,  the  following 
suggestions : — 

"  The  heliographic  artist  may  justly  plead  some  excuse 
for  his  short-comings  in  portraying  alike  distinguished 
persons  and  others,  as  he  is  usually  limited,  by  his  sitters, 
to  a  few  moments  for  accomplishing  a  marvellous  and 
very  difficult  work.  As  his  art  acquires  importance, 
and  rises  in  public  estimation,  he  will  be  indulged  with 
more  patience  by  his  sitters,  who  will  also  place  a  higher 
value  upon  his  efforts." 

I  need  not  say  that  I  was  happy  to  find  my  own  fre- 
quent remarks  in  various  portions  of  this  volume  thus 
corroborated  by  an  authority  so  respectable. 


CHAPTER  XX. 

EXPRESSION — THROUGH  THE  ANIMAL  AND  INANIMATE 
WORLDS. 

Expression  pertains  to  the  animal,  vegetable,  and  mineral  worlds,  e.  g.  the 
lion,  what  ideas  he  expresses,  what  sort  of  man  he  typifies  j  the  tiger,  do. 
do.;  the  fox,  bull-dog,  snake,  do,  do.; — The  inanimate  world  has  expres- 
sion— Macbeth,  witches,  blasted  heath,  &c.,  accordance  between  persons 
and  scene — The  crucifixion  of  Christ,  and  the  accompanying  darkness, 
earthquake,  and  other  prodigies — Milton's  description  of  earth's  perturba- 
tions, on  the  eating  of  the  fatal  apple — Mountains  expressive — Three 
diflferent  ones  described,  typifying  three  classes  of  men — Frigid  zones  and 
Sahara  Desert,  what  sorts  of  human  beings  and  conditions  symbolized  by 
them — Swamps  and  fens,  what  they  represent — The  face  of  earth,  as  a 
whole,  symbolical  of  the  character  and  state  of  the  race. 

Hitherto  I  have  spoken  solely  of  the  human  face  and 
figure,  as  vehicles  of  expression.  But  the  subject  is  far 
from  being  thus  exhausted.  For  the  animal,  the  vege- 
table, and  the  mineral  worlds,  in  their  own  manner,  are 
not  less  charged  with  expression.  In  illustration  of  this 
fact,  let  us  glance  first  at  the  animal  kingdom. 

If  philosophy  and  poetry  are  not  wholly  astray, 
expression  should  be  discernible  in  the  faces  and  figures 
of  all  animals,  domesticated  or  wild.  For  both  teach, 
that  the  animal,  of  whatever  species,  is  a  fragment,  or 
partial  manifestation  of  man ;  and,  conversely,  that  man 
is  an  aggregate  of  all  the  several  properties  existing 
in  the  spheres  below  himself,  animal,  vegetable,  and 
mineral. 

Hence,  if,  through  man's  material  organism,  spiritual 


170  THE  CAMERA  AND  THE  PENCIL. 

meaning  be  expressed,  so  must  it  be  tbrough  the  king- 
doms beneath  him. 

Thus,  has  the  lion's  face  no  expression  ?  What  was 
the  epithet,  "lion-hearted,"  attached  to  the  first  English 
Eichard,  meant  to  express  ? 

Probably  this, — tremendous  physical  force ;  a  disposi- 
tion which,  frop  its  energy  and  excitancy,  may  rush  into 
cruelty  when  fully  roused ;  but  which  in  ordinary  moods, 
blends  magnanimity  with  power  ;  and  finally  the  capacity 
to  overwhelm  and  destroy  all  opposers,  coupled  with 
the  habitual  inclination  to  spare  the  dead  and  the  unre- 
sistant.  Such  would  seem  the  significance  of  the  broad 
square  face,  combined  with  the  formidable  muscles  and 
harrow-like  claws  of  the  desert- king. 

Does  he  not  vividly  typify  the  Hercules,  or  the  Sam- 
son, the  heroes  of  rough,  violent  times;  themselves 
hardly  less  rough  and  violent,  than  the  foes  they  trium- 
phantly encounter ;  but,  unlike  these,  possessing  a  gran- 
deur of  soul,  which  bids  to  spare  such,  as  can  resist  and 
ravage  no  longer  ? 

Has  not  the  tiger,  too,  his  expression  ?  An  exaggera- 
tion of  the  household  cat;  with  hardly  less  physical 
might  than  the  lion,  though  with  none  of  his  reputed 
magnanimity ;  cruel  and  sanguinary  to  the  core ;  sly, 
treacherous,  and  persistent  in  his  endeavors  to  get  as 
many  victims,  as  possible,  within  the  gripe  of  his  ruthless 
fangs ;  do  you  not  read  this  character  in  that  face  of  his, 
so  luridly  lighted  up  with  those  green,  blazing  eyes? 
And  certainly  history,  if  not  your  own  experience, 
furnishes  numbers  of  both  men  and  women  embodying 
the  tiger-element. 

Again,  from  ^  sop's  time,  at  least,  the  fox  has  been 
regarded  as  the  type  of  the  cunning  man,  who  pursues 
his  ends  by  covert,  tortuous  methods ;  working  in  dark- 


EXPRESSION — ANIMAL  AND  INANIMATE  WORLDS.     171 

ness,  and  not  in  sunshine ;  scudding  awaj  from  whoever 
fronts  him  boldly,  but  creeping  back  to  efi'ect  his  destruc- 
tive purposes,  if  he  can  surprise  his  victim  asleep  or 
unprepared.  Are  not  these  traits  visible  in  his  face, 
figure,  and  movements  ? 

As  antitype  of  Reynard,  note  the  luckless  hare;  luck- 
less in  many  ways,  and  especially  in  this,  that  the  so- 
named  "  great"  everywhere  make  a  favorite  amusement 
of  hunting  poor  "Puss"  to  death,  with  the  accompani- 
ments of  yelling  hound  and  clamorous  horn. 

Who  has  not  seen  among  human  beings  numerous 
archetypes  of  the  fox  and  the  hare  ? 

Of  the  bull-dog  I  need  say  but  a  word.  His  head  and 
neck  bear  a  most  extraordinary  resemblance  to  those  of 
the  prize-ring  heroes,  and  the  characteristics  of  the  two 
are  identical. 

But  the  snake,  with  his  ugly  coil  while  at  rest;  his 
stealthy,  twisting  movements  when  advancing ;  his 
forked,  quick-darting,  fiery  tongue,  and  his  whole  aspect, 
when  roused  to  anger ;  does  he  not  image  to  you  a  human 
being  who  is  cunning  and  treacherous  in  his  methods  of 
proceeding,  while  dangerous  and  deadly  in  his  intents  ? 

I  have  not  room  for  further  sketches  of  this  kind. 
But  the  hints  already  given  may  by  the  reader  be  carried 
as  far  as  he  will  through  the  several  species  of  the  ani- 
mal kingdom. 

Expression,  however,  does  not  stop  with  the  animals ; 
it  appears  hardly  less  distinctly  in  the  inanimate  than 
in  the  animal  world.  Mother  earth  has  many  a  different 
expression,  wherein  we  may  witness  striking  correspond- 
ences to  the  states  of  her  human  children. 

Where,  for  instance,  did  Macbeth  encounter  the  weird, 
frightful  beings  who  predicted  the  fate  which  should 
carry  him  to  a  throne  along  the  dark,  tortuous,  blood- 


172         THE  CAMERA  AND  THE  PENCIL. 

slippery  ways  of  betrayed  liospitality,  treason,  and  mid- 
niglit  murder  ? 

On  a  "blasted  beath,"  but  partially  visible  by  the  few 
shimmering  stars  of  a  clouded  sky !  A  rough,  bleak 
region,  with  dank  mosses  and  noisome  weeds,  and 
sombre-lmed,  withered  shrubs  in  place  of  the  fresh  green 
growths  so  gladdening  to  eye  and  soul ;  here  and  there 
the  fragment  of  a  dead  tree,  which  had  been  robbed  of 
vitality  by  the  thunder-stroke,  or  the  slow-sapping  con- 
sumption of  arboreal  disease;  and,  topping  this  dread 
aggregate,  a  black-hued  pool,  bordered  with  tangled, 
foulest  vegetation,  dotted  with  green,  slimy  patches,  all 
alive  with  hideous  reptiles ;  and  so  looking  like  an  eye 
darting  forth  basest,  obscenest  thoughts  and  feelings, — 
did  not  this  scene  express  vividly  the  career  that  lay 
before  Macbeth?  Do  we  not,  by  instinct,  recognise  a 
natural  affinity  between  this  locality  and  the  crimes  here 
brought  in  vision  before  the  future  criminal  in  whose 
bosom  the  pandemonian  fires  are  already  smouldering? 

And  how  was  it  with  Mother  Earth  when  the  tragedy 
of  tragedies  was  enacted, — the  infliction  of  a  felon  death 
on  "the  Lord  of  life  and  glory"?  Did  her  face  wear  its 
wonted  smiling  aspect,  and  did  nature  move  on  in  her 
wonted  courses  ? 

It  could  not  be  so.  But,  instead,  the  sun  hid  his  face 
in  shame ;  the  earth  heaved  with  earthquake -sobs  and 
groans ;  the  long-dumb  graves  sprang  up  into  life ;  and 
the  inanimate  world  everywhere  showed  a  shuddering 
sensitiveness  to  the  horribly  unnatural  deed  then  in  pro- 
cess of  perpetration. 

Milton  has  attributed  similar  perturbations  to  earth  at 
the  eating  of  the  "fatal  apple"  by  Eve. 

"Earth  felt  the  wonnd,  and  Nature  from  her  seat. 
Sighing  through  all  her  works,  gave  signs  v>f  woe, 
That  all  was  lost." 


EXPRESSION — ANIMAL  AND  INANIMATE  WORLDS.     173 

And  "when  Adam  followed  lier  example, 

"  Earth  trembled  from  her  entrails,  as  again 
In  pangs ;  and  Nature  gave  a  second  groan. 
Sky  lowered,  and  muttering  thunder,  some  sad  drops 
Wept  at  completing  of  the  mortal  sin 
Oric/inal." 

We  may,  however,  find  the  same  principle  illustrated 
bj  the  ordinary,  perennial  aspects  of  nature. 

Mountains,  for  example,  have  an  expression  of  their 
own.  Speaking  generally,  I  should  say  they  expressed 
the  preeminence  of  the  individual  man ;  that  grandeur 
and  power  of  soul,  whereby  he  towers  above  his  fellows 
and  attracts  their  regards  to  himself.  And  the  varieties 
of  mountains  we  may  suppose  to  symbolize  the  diversities 
of  human  greatness. 

For  example,  one  mountain,  while  rising  to  a  vast 
height,  is  of  symmetrical  configuration,  and  brightly 
verdant  to  its  very  summit. 

What  more  striking  emblem  of  a  character,  at  once 
eminently  great  and  completely  balanced ;  the  intellectual 
and  moral  qualities  all  exalted  to  a  high  pitch,  yet  iu 
such  equilibrium,  that  no  one  or  more  stands  above  the 
rest  ?     Such  a  character  was  Washington. 

A  second  mountain,  equally  lofty  as  the  first,  is  strik- 
ingly irregular  in  conformation.  Here  is  an  expanse  of 
vivid  green  ;  there  a  a  patch  of  dun-hued,  bristly  shrubs, 
and  gnarled  tangled  vines ;  here  again  is  a  huge  rocky 
ledge,  encircled  with  thickly  scattered  boulders ;  and 
there,  finally,  a  group  of  tall,  superb  trees,  the  graceful 
beech,  or  the  majestic  maple,  whose  very  veins  run 
sweetness  for  whosoever  chooses  to  receive  it.  How 
better  than  by  this  symbolize  a  man  irregularly  great  and 
good ;  a  composite  of  virtues  and  faults,  of  beauties  and 


174         THE  CAMERA  AND  THE  PENCIL. 

blemislies,  of  fertilities  and  barrennesses, — a  sun  marked 
witli  many  a  spot,  yet  still  a  sun. 

But  yonder  looms  up  a  tbird  mountain.  Differing 
greatly  from  the  two  former,  it  appears,  on  a  superficial 
glance,  little  other  than  a  huge  mound  of  rough,  verdure- 
less  crags  and  stones.  Hardness,  barrenness,  deformity, 
and  desolation  would  seem  there  more  aptly  imaged  in 
a  single  emblem.  But  a  closer  inspection  shows  a 
copious  fountain  of  clear,  cold  water  gushing  from  the 
heart  of  that  rocky  mass.  The  tired,  heated  wayfarer 
blesses  the  liquid  benignity,  and  many  an  animal,  too,  is 
refreshed  by  the  bounty  of  this  pitiless-seeming  giver. 
And  far  on  through  the  plain  below  the  rock-born 
streamlet  carries  greenness,  fertility,  and  beauty,  blessing 
multitudes  who  know  not  its  origin ;  and  so  it  will  con- 
tinue to  do,  till  its  existence  becomes  absorbed  by  the 
all-central  ocean.  Still  further — "Within  the  bosom  ol 
that  forbidding  mound  are  exhaustless  stores  of  coal  and 
iron,  from  which  numbers  draw  the  needful  means  of  life 
and  enjoyment. 

Have  we  not  here  the  type  of  a  third  great  and  good 
man, — one  who,  beneath  a  rough,  hard  exterior,  shelters 
numerous  sterling  virtues  of  rarest  quality,  and  is  pro- 
digal of  benefits  to  multitudes  of  human  kind  ?  Do  you 
not  here  discover  many,  at  least,  of  the  features  of 
Ethan  Allen  and  "Old  Put?"  But,  passing  from  par- 
ticulars to  generals,  does  not  the  surface  of  our  globe,  as 
a  total,  reflect  vividly  the  various  conditions,  mental  and 
moral,  of  the  human  race  that  occupies  it  ? 

As  thus :  How  many  millions  of  our  kind  pass 
through  life  with  their  intellectual  capacities  frozen  up 
in  a  cold,  drear  ignorance ! 

If  now  you  glance  over  earth's  frigid  zones,  you 
behold  in  their  vast  expanses  of  eternal  ice  and  snow 


EXPKESSION — ANIMAL  AND  INANIMATE  WORLDS.     175 

this  mental  barrenness  most  vividly  symbolized;  and 
this  in  a  thousand  minutest  particulars. 

Note  one  particular.  From  these  immense  ice-fields  a 
huge  mass  gets  sometimes  detached,  and,  floating  into 
mid-ocean,  dashes  destruction  against  many  a  ship, 
full-freighted  alike  with  wealth  and  with  human  life. 

So  from  the  frozen  sea  of  ignorance  a  great  mass  gets 
occasionally  severed,  which,  floating  blindly  off,  dashes 
ruinously  against  the  social  weal,  and,  with  no  definite 
malign  intent,  works  mischief  beyond  the  estimate  of 
statistics  or  of  imagination's  self.  For  examples,  recall 
the  Jacquerie  insurrection,  or  the  first  French  revolution. 

Again,  traverse  in  imagination  the  great  African  Sa- 
hara, and  what  see  you  and  hear  you  there  ?  The  for- 
midable shapes  and  voices  of  lions,  who  '•  roar  after  their 
prey  and  seek  their  meat  from  God,"  together  with  the 
sharp  barks  and  dismal  moans  of  their  attendant  jackals ; 
the  sanguinary  atrocities  and  hideous  growls  of  tigers, 
panthers,  and  others  of  their  kind ;  innumerable  ser- 
pents, from  the  dragon  that  arrested  the  march  of  a 
Roman  army  to  the  "fiery,  flying  serpent"  which 
wrought  havoc  upon  the  Hebrews  under  Moses, — what 
does  this  desert  express  in  human  society  ? 

Traverse  the  cellars  of  New  York  "Five  Points," 
or  of  London  "St.  Giles's,"  or  of  Paris  "Cite,"  as  pre- 
sented at  the  bar  of  supernal  justice  by  Dickens  and  Sue, 
the  prosecuting  attorneys  of  civilization,  and  tell  me  if 
you  do  not  here  witness  a  counterpart  of  that  African 
desert,  with  its  monstrous  and  loathsome  containings  ? 

I  might  further  point  your  attention  to  earth's  numer- 
ous swamps  and  fens,  brimming  with  hideous  reptiles, 
and  dank,  poisonous,  sense-offending  vegetal  growths ; 
eternally  exhaling  miasms,  on  whose  viewless  pinions  a 
thousand  mortal  pestilences  float ;  to  volcanic  mountains 


176  THE  CAMERA    AND  THE  PENCIL. 

"whicli,  even  when  quietest,  spout  forth,  noxious  gases 
and  redden  luridly  the  face  of  earth  and  sky,  but  which, 
in  their  roused  moods,  eject  ashy  clouds,  and  stormy 
showers,  and  lava-torrents  which  bury  whole  cities  with 
their  inhabitants ;  and  then  I  might  bid  you  note  those 
corrupted  human  masses  which  at  all  times  spread  a  fatal 
contagion  about  them,  but  in  exasperated  conditions 
become  veritable  ^tnas  and  Yesuviuses,  the  terror  and 
the  menaced  destruction  of  the  society  that  embosoms 
them !     Do  not  the  former  plainly  emblem  the  latter  ? 

Not,  however,  to  multiply  these  parallelisms  further, 
we  remark  generally  that  in  this  our  earth,  scarred  and 
blotched,  volcano-spouting,  fen-reeking,  and  reptile- 
swarming,  desert-flaming,  and  frost-bound,  the  intelli- 
gent observer  may  see  reflected,  or  expressed,  the  multi- 
form defects,  vices,  crimes,  and  woes  of  the  race  that 
occupies  its  surface. 

If,  then,  we  can  trace  expression  through  all  the 
departments  of  creation ;  if  we  find  in  this  the  one  cha- 
racteristic that  imparts  a  living  interest  to  the  human,  the 
animal,  and  the  inanimate  worlds  alike ;  should  it  not, 
beyond  all  particulars  else,  secure  the  attention  of  all 
who  would  be  artists  in  very  deed  and  truth  ? 


CHAPTEE  XXI. 

EXPRESSION  OF  ABNORMAL  MOODS  OF  BODY  AND  MIND. 

Disease,  like  health,  subject  to  laws — Various  diseases  exhibit  various  expres- 
sions— Sundry  examples  of  these — Abnormal  passions  have  each  their  own 
expressions — Instances  given — Wisdom  of  this  ordination — The  actor  must 
study  these  expressions — Important  for  all  to  do  this. 

Says  a  modern  writer,  "The  laws  of  disease  are  as 
beautiful  as  tlie  laws  of  health."  And  with  equal  truth 
we  might  say  that  the  process  of  decomposition  is  as 
curious  and  full  of  interest  as  that  of  growth. 

In  the  three  preceding  chapters  I  have  spoken  of  the 
expression  of  persons  and  things  in  their  healthy  and 
normal  condition.  Equally  curious  and  hardly  less 
worthy  of  notice  is  the  expression  of  the  same,  when  in 
a  diseased  or  abnormal  state. 

An  observant,  acute  physician  learns  at  once  to  detect, 
by  the  external  appearances  of  his  patient,  what  disease 
he  is  attacked  with,  and  in  what  part  of  the  organism 
this  disease  is  seated.  Our  friend.  Dr.  S.  S.  Brooks  of 
this  city,  has  given  us  a  few  notes  on  this  subject  which 
we  here  transcribe,  not  so  much  as  affording  full  indica- 
tions, as  suggesting  in  what  direction  to  look  for  such. 

Thus  he  remarks  that  in  a  disease  of  the  brain  or  ner- 
vous system,  the  forehead,  brows,  and  eyes  give  the  ex- 
planation of  the  ailment. 

Morbid  conditions  of  the  chest  write  their  signatures 
on  the  middle  of  the  face, — especially  the  nose. 

1^  (177) 


178  THE  CAMERA  AND  THE  PENCIL. 

The  moutli  and  the  lips,  by  their  change  from  the  cus- 
tomary aspect,  show  the  presence  of  abdominal  affections. 

In  acute  disease  of  the  head,  the  eyes  are  fixed  and 
staring,  or  wild  and  vacant-looking,  while  the  brows  are 
knit.  At  one  time  the  pupil  may  be  contracted,  and 
the  sick  one  start  as  if  frightened,  and  scream  aloud  on 
being  touched, — or  the  pupil  may  be  dilated  and  insensi- 
tive to  light,  while  the  patient  is  motionless  or  uncon- 
scious. 

When  the  chest  is  acutely  diseased,  the  wings  of  the 
nose  are  dilated  or  in  rapid  motion. 

Again,  in  acute  abdominal  disease,  the  lips  are  drawn 
back,  so  as  to  show  the  teeth  or  gums,  while  the  coun- 
tenance is  pale  or  sunken. 

And  doubtless  a  sufiicient  amount  of  observation 
would  detect  distinctly  marked  signs  indicative  of  every 
malady  from  which  man  suffers,  so  that  a  glance  at  the 
face  and  figure  might  determine  the  character  and  in- 
tensity of  such  malady. 

But  the  self-same  law  applies  not  alone  to  physical 
diseases,  but  to  what  may  be  called  diseases  of  the  mind ; 
that  is,  excesses  of  the  passions  and  appetites,  whatever 
their  kind.  Anger,  malice,  revenge,  and  the  whole  dark 
brood  of  the  malign  elements  of  the  soul,  imprint  their 
marks  upon  the  face  and  form.  So  plainly,  indeed,  that  the 
very  infant  understands  and  is  alarmed  and  repelled  by 
them.  Nor  less  can  the  same  infant  read  the  kindly 
affections  upon  the  exterior,  and  is  thus  often  attracted 
to  the  arms  of  a  total  stranger.  And  so  winning  is  the 
expression  of  these  affections  that  they  often  impart  what 
we  entitle  beauty  to  a  face  whose  features  are  irregular 
almost  to  deformity.  So,  too,  the  malignant  passions 
will   cast  upon   a   face  which,  in   its   normal   state,  is 


ABNORMAL  MOODS  OF  BODY  AND  MIXD.  179 


supremely  beautiful,  a  shadow  tliat  produces  on  tlie 
beholder  the  effect  of  veritable  ugliness. 

It  is  a  wise  and  beneficent  ordination  of  Providence 
that  the  internal  dispositions  thus  stamp  themselves  on 
the  exterior.  For  by  this  means  we  are  warned  on  the 
one  hand  to  beware  of  the  base  and  malicious  of  heart, 
and  on  the  other  are  taught  in  whom  we  may  securely 
place  our  trust. 

All  the  various  expressions  of  which  the  face  and  the 
figure  are  susceptible  are  carefully  studied  by  the  actor, 
and  his  professional  skill  is  measured  and  his  reputation 
in  a  great  degree  determined  by  the  closeness  with  which 
he  can  copy  and  represent  them.  It  were  well  that  we 
all  were  accustomed  to  observe  far  more  carefully  than 
we  do  the  expressions  indicating  the  propensities  and 
characters  of  those  among  whom  we  live.  We  might 
thus  be  taught  whom  to  avoid  and  whose  acquaintance 
to  cultivate,  with  much  greater  certainty  than  any  words 
could  give. 

Our  purpose  in  this  supplementary  chapter  has  been 
not  so  much  to  impart  definite  instruction  to  the  reader, 
as  to  point  out  the  direction  in  which  such  reader  may 
seek  it  for  himself.  That  the  heliographer,  as  well  as  all 
other  artists,  should  make  himself  familiar  with  the 
numerous  varieties  of  expression  here  indicated,  is  too 
obvious  to  require  more  than  the  mere  mention. 


CHAPTEE  XXII. 

MISCELLANEOUS  TACTS. 

Peculiarities  in  the  eyes  of  various  individuals ;  e.  g.  1st.  Incapacity  of  dis- 
tinguishing certain  colors;  2d.  Beholding  the  same  objects  of  different 
sizes — Instances  in  relation  to  sun  and  moon — Causes  of  these  anomalies 
unknown — The  subject  worth  investigation — Expression  through  names — 
Various  examples  among  savage  tribes — Origin  and  use  of  names  of  what- 
ever kind — Illustrations  among  both  ancients  and  moderns,  e.  g.  Cicero, 
Caesar,  Seipio,  Smith,  Brown,  White,  &c. — Heraldry,  with  its  emblems,  due 
to  the  same  origin.  . 

A  FEW  items  more  or  less  related  to  subjects  discussed 
in  various  parts  of  this  volume,  I  have  thought  might 
be  interesting  enough  to  deserve  recording.  They  are, 
therefore,  introduced  here  under  the  above  caption.  The 
first  two  of  them  I  entitle 

OCULAR  ANOMALIES, 

1.  Many  of  my  readers  may,  perhaps,  be  aware  that 
some  persons  are,  organically,  incapable  of  distinguish- 
ing certain  colors.  That  is,  some  colors,  as,  for  example, 
the  red,  or  the  green,  or  the  blue,  do  not  exist  for  them, — 
and,  so  far  as  they  are  concerned,  are  absolutely  blotted 
out  of  the  prismatic  spectrum  of  the  sunbeam.  I  have 
even  known  persons  engaged  in  heliography  who  had 
this  imperfection  of  vision.  What  can  be  the  cause  of 
this  fact  so  strangely  exceptional?  The  discovery  of  its 
rationale  would  be  well  worthy  the  attention  and  the 
endeavors  of  experimentists  of  leisure. 

1 180) 


MISCELLANEOUS  FACTS.  181 


2.  Size,  proportion,  and  relation  are  principles  which, 
in  some  eyes,  would  seem  to  be  all  ajar. 

Thus,  the  a'pparent  bulk  of  the  sun  and  the  moon,  so 
far  as  we  can  learn,  is,  to  the  average  of  beholders,  pretty 
nearly  the  same. 

One  of  my  acquaintances,  however,  a  shrewd  observer, 
whose  senses  have  been  actively  and  habitually  exercised, 
as  being  the  avenues  whereby  the  quite  extensive  know- 
ledge possessed  by  him  has  entered  his  mind,  tells  me, 
gravely,  that  the  sun^s  disc  looks  to  him  as  large  as  a  coach- 
wheel/  That  he  speaks  in  perfect  sincerity,  I  have  no 
doubt. 

A  second  acquaintance,  not  less  intelligent  and  keenly 
observant  than  the  first — of  the  same  class  of  mind  and 
mode  of  education,  and  belonging  to  the  same  sphere  in 
life — assures  me  that  these  heavenly  bodies  wear,  to  his 
vision,  about  the  compass  of  his  hat-crown, — their  size 
being,  if  anything,  rather  less  than  greater. 

Here  are  two  instances  wherein  visual  organs,  to  all 
appearance  equally  healthful  and  perfect,  utter  reports 
completely  clashing, — the  defect  in  the  one  and  the  vari- 
ance in  the  other  flowing  from  causes  entirely  unknown. 

Is  it  not  both  possible  and  probable  that  useful  results 
might  be  attained,  were  persons  possessing  the  requisite 
capacity  and  leisure  to  take  up  these  subjects  and  probe 
them  thoroughly  ? 

For  one,  I  have  no  doubt  of  the  fact. 

A  third  of  these  items  I  entitle 

EXPEESSIOJSr  AS  INTIMATED  BY  NAMES. 

In  one  of  the  chapters  of  this  volume,  I  speak  of  the 
animal  races  and  of  the  inanimate  world  as  wearing  an 
expression  of  their  own,  and  this  expression  a  partially 
human  one,  i.  e.  suggestive  of  human  qualities.   I  alluded 


182  THE  CAMERA  AND  THE  PENCIL. 


to  the  customs  of  savage  tribes  in  the  assumption  of 
names  or  designative  titles.  Alilce  from  the  animate  and 
the  inanimate  worlds  they  borrow  such  appellatives  as 
are  fancied  bj  them  to  symbolize  their  characters,  or 
some  special  element  or  elements  of  the  same. 

Thus,  in  "The  Last  of  the  Mohicans"  we  find,  among 
its  personages,  "Chingachgook,"  or  "the  Serpent,"  and 
"Le  Cerf  Agile,"  "the  Active  Stag," — names  significant 
of  certain  qualities  supposed  to  characterize  those  to 
whom  they  belonged. 

So  in  Bowen's  History  of  the  Indian  Tribes,  we  find 
"Meomouni,"  "the  Cloud  out  of  which  the  Eain  comes" — 
" Wakawn,"  "the  Snake"— "Ohittee  Toholo,"  "the  Snake 
that  makes  a  Noise" — "Monkaushka,"  "the  Trembling 
Earth"— " Tooan  Tub,"  "the  Spring  Frog,"  &c.,  &c. 

These  are  but  instances  of  a  principle  which,  at  the 
outset,  was,  doubtless,  universal  and  without  exceptions. 
Names  being,  originally,  as  matter  not  only  of  conveni- 
ence, but  of  almost  absolute  necessity,  bestowed  in  order 
that  individuals  might  be  discriminated  one  from  another 
while  present,  or  so  spoken  of  in  their  absence,  that  it 
might  be  known  who  was  meant ;  it  mattered  little  by 
what  particular  thing  they  were  signalized,  so  that  all 
recognised  it  at  the  instant  of  hearing.  Again,  it  was 
sometimes  a  feature  of  face,  or  a  peculiarity  of  shape  or 
of  aspect;  sometimes  a  prominent  trait  of  mind  or  of 
heart ;  sometimes  a  striking  incident  in  the  life ;  and 
sometimes  the  ordinary  vocation  or  pursuit ;  from  which 
sprang  a  family  name  that  has  endured  thousands  of 
years. 

Illustrations  of  this  principle  might  be  quoted  in  abund- 
ance from  the  records  of  antiquity,  I  will  alude  merely 
to  the  titles,  Cicero,  Caesar,  and  Scipio.  Thus,  the  im- 
mortal orator,  Marcus  Tullius,  is  said  to  have  received 


MISCELLAiSrEOUS  FACTS.  183 

the  cognomen,  Cicero,  from  "cicer,"  "a  bean" — he  hav- 
ing been  marked  on  the  face  with  a  hean-shaped  wart. 

So,  Oaius  Julius  derived  the  cognomen  "Csesar,"  from 
"csesus,"  ''cut" — in  consequence  of  his  having  been 
taken  from  the  womb  of  his  deceased  mother  by  a  surgi- 
cal operation. 

Finally,  the  cognomen  "Scipio,"  subjoined  to  the 
family  name  of  an  illustrious  Eoman  race,  signifies  "a 
staff," — intimating  the  important  part  enacted  by  this 
family  in  upholding  the  fabric  of  the  state. 

Coming  down  to  times  comparatively  recent,  we  find 
the  far  and  wide  spread  patronymic  of  Smith.  Originally 
it  was  one  of  the  most  honorable  of  titles,  indicating,  in 
its  possessor,  one  of  the  most  useful  of  citizens,  as  well 
as  of  the  main  harbingers  of  civilization.  For  it  was 
the  smith  who  forged  alike  the  weapons  of  war  for  men's 
defence  against  their  foes;  and  the  implements  of  the 
chase,  from  which  they  drew,  in  part,  their  subsistence ; 
and  of  agriculture,  which  constitutes  the  basis  of  oui 
present  advanced  condition. 

A  host  of  kindred  examples  will  occur  to  my  readei 
on  a  moment's  reflection. 

Again,  in  the  class  of  names,  of  which  White,  Brown, 
Green,  Black,  &c.,  are  specimens,  we  find  a  reference  to 
the  complexion,  or  color  of  the  dress,  or  some  one  or 
more  particular  of  the  individual's  belongings. 

In  Scott's  Eob  Koy  we  have,  in  the  hero's  title,  Eob- 
ert  the  Eed, — Eoy  signifying  red, — an  allusion  to  the 
color  of  his  hair. 

So,  in  Highland  Annals,  you  find  "  the  Black  Comyn," 
"  the  Eed  Comyn,"  &c., — the  prefixes  being  drawn  from 
the  tint  of  the  hair  or  the  complexion. 

Once  more.  In  French  Chronicles  we  find  "Philip 
the  Fair"— "Louis  the  Fat"— "Philip  Augustus,"  &c.— 


184         THE  CAMEEA  AND  THE  PENCIL. 

the  appellatives  having  been  borrowed  from  some  pro- 
perty either  corporeal  or  mental. 

In  sum,  the  total  science  of  heraldry  is  based  on  the 
same  principle,  i.  e.  the  adoption  of  some  distinctive 
emblem  which  represents  or  intimates  some  property  of 
body  or  mind,  or  some  event  in  the  life  of  those  assu- 
ming it,  or  signalized  by  it. 

How  wide-reaching  and  profound,  then,  is  fhis  subject 
of  expression,  may  be  conjectured  from  the  foregoing 
hints  superadded  to  the  much  that  is  suggested  in  other 
parts  of  this  treatise. 

Somewhere,  however,  I  must  abruptly  make  an  end, 
for  the  subject  itself  is  all  but  illimitable. 


CHAPTEE  XXIII. 

OPINIONS  OF  ARTISTS  AND  ART-CRITICS  UPON  BEAUTY. 

Opinions  of  artists  and  art-critics  upon  beauty,  physical,  intellectual,  moral, 
and  ideal;  e.g.  Phidias,  Plato,  Cicero,  Ac,  among  the  ancients;  and  M. 
Angelo,  Raffaelle,  Reynolds,  Barry,  Opie,  Lawrence,  Haydon,  Cousin,  Rus- 
kin,  Jeffrey,  Alison,  Burke,  Michelet,  <tc.,  among  the  moderns — Sundry 
original  comments  on  the  same. 

In  the  course  of  the  present  volume,  it  has  fallen  into 
the  logical  sequence  of  mj  design  to  touch,  more  or  less 
extensively,  on  art  and  artists ;  on  beauty,  genius,  taste ; 
and  on  expression,  light  and  shadow,  composition,  and 
kindred  topics,  which  come  naturally  under  these  general 
heads.  In  discussing  these  various  points,  I  have 
hitherto  drawn  upon  my  own  observation  and  experience 
more  largely  than  upon  any  resources  beside.  I  have 
been  accustomed,  however,  in  the  few  leisure  hours 
accorded  me,  to  glance  over  such  volumes  of  distin- 
guished artists  and  connoisseurs,  as  came  in  my  way  and 
dealt  with  the  same  subjects  as  myself,  and  to  transcribe 
or  pencil-mark  the  passages,  which  especially  struck  me 
as  worthy  of  consideration.  These  passages  have  so  accu- 
mulated on  my  hands  that  I  have  concluded  they  might 
add  to  the  value  of  my  book,  if  arranged  in  some  tolerable 
order  and  published  with  the  rest  of  its  contents. 

On  some  of  the  topics,  here  referred  to,  there  will  be 
found  more  or  less  antagonism  of  opinions ;  but  instruc- 
tion and  inspiration  may  be  gathered  from  the  clashes 
of  view,  and  even  the  errors  of  men  of  genius  and  ability. 

(185) 


186  THE  CAiMERA  ANT)  THE  PENCIL. 

So  that,  with  some  partial  attempts  at  ranging  like  things 
under  the  captions  that  cover  them,  I  shall  present  the 
remarks,  as  they  stand  in  my  commonplace  book.     And 

1st.  Beauty, — what  is  said  of  it  by  various  individuals, 
to  whom  it  had  been  a  theme  of  much  contemplation  ? 

Cousin,  the  eminent  French  eclectic,  has  given  one  of 
the  most  thorough  and  satisfactory  analyses  of  beauty 
(in  my  judgment),  of  any  writer  I  have  examined.  I 
will  presently  note  down  some  of  his  utterances,  after 
citing  from  certain  others,  who  came  earlier  under  my 
eye. 

James  Barry  (the  painter)  remarks,  "It  is  evident, 
that  beauty  and  perfection  are  but  different  names  for 
the  same  thing ;  and  consequently  the  most  beautiful 
form  of  body  must  be  that,  which  in  all  its  qualities 
most  perfectly  corresponds  with  the  idea  we  have  of  its 
species,  of  whatever  kind,  sex,  or  age. 

"  But  grace  is  more  eminently  observable  in  the 
female,  because  her  sensibility  and  tenderness  are  greater 
than  the  male's,  and  the  superior  softness  and  delicacy 
of  her  bodily  frame  is  more  in  unison  with  those  tender 
sensations." 

Says  Ruskin,  "Repose  is  the  most  unfailing  test  of 
beauty.  No  work  of  art  can  be  great  without  it, — 
nothing  can  be  ignoble  that  possesses  it,  and  nothing 
right  that  has  it  not.  By  this  light  we  shall  see  three 
colossal  images  standing  side  by  side,  looming  in  their 
great  rest  of  spirituality  above  the  whole  world-horizon 
— Phidias,  Michael  Angelo,  and  Dante ;  and  then,  sepa- 
rated from  their  great  religious  thrones  only  by  less  ful- 
ness and  earnestness  of  faith,  Homer  and  Shakspeare. 

"  In  all  perfectly  beautiful  objects  there  is  found  the 
opposition  of  one  part  to  another,  and  a  reciprocal 
balance  obtained. 


OPIXIONS  UPON  BEAUTY.  187 


"  The  most  lovely  objects  in  nature  are  only  partially 
transparent.  The  utmost  possible  sense  of  beauty  is  con- 
veyed by  a  smooth,  feebly  translucent,  but  not  lustrous, 
surface  of  white  and  pale,  warm  red,  subdued  by  the 
purest  and  most  delicate  grays,  as  in  the  finer  portions 
of  the  human  frame. 

"  The  beauty  of  the  animal  form  is  in  exact  propor- 
tion to  the  moral  and  intellectual  virtue  expressed  by  it. 

"  The  sources  of  beauty  are  not  presented  by  any  great 
work  of  art  in  a  form  of  pure  transcript  or  copy.  They 
invariably  receive  the  reflection  of  the  mind  under  whose 
shadow  they  have  passed,  and  are  modified  or  colored 
by  its  image. 

"  Any  material  object  which  can  give  us  pleasure  in 
the  simple  contemplation  of  its  outward  qualities,  with- 
out any  direct  and  definite  exertion  of  the  intellect,  is,  in 
some  way  and  in  some  degree,  beautiful. 

"  The  artist  who  would  attain  beauty,  must  not  at  all 
avoid  or  slight  nature,  but  must  study  it  profoundly  as 
his  most  important  source  of  improvement.  He  must 
not  contemplate  merely  those  beauties  which  may  be 
presented  to  his  view  at  the  moment,  but  should  also 
consider  wherein  they  differ  from  others  inferior  to  them. 
For  example,  how  beautiful  that  smile !  How  eloquent 
those  lips  !  Let  him  ask  himself  what  is  meant  by  these 
qualifying  terms." 

Asks  B.  K.  Haydon,  "  What  is  beauty,  without  which 
all  our  previous  principles,  exemplified  by  practice, 
would  fail  to  enchant  the  world  ?  No  modern  artists, 
not  excepting  Raffaelle,  Correggio,  or  Michael  Angelo, 
ever  equalled  the  ancients  in  this  quality  of  face  and 
figure.  The  ancients  seem  to  have  hit  exactly  what 
degree  of  fitness,  proportion,  unity,  curve,  and  color  in 
nature  and  art  was  adapted  to  excite  the  emotion  of 


188  THE  CAMERA  ANT)  THE  PENCIL. 

"beauty  in  the  human  mind,  and  never  to  have  failed 
once,  down  even  to  the  form  of  a  milk-jug. 

"It  is  quite  clear  that  every  artist  must,  by  form,  by 
color,  by  expression — whatever  may  be  the  theory — 
excite  the  emotion  of  beauty  in  his  spectators.  Some- 
times the  form  and  face,  which  contain  virtue,  are  ugly, 
like  those  of  Socrates ;  and  sometimes,  however  detest- 
able sin  may  be,  the  most  noble,  the  most  heroic,  the 
most  beautiful  form  and  face  express  it,  like  those  of 
Satan. 

"  Though  beauty  may  always  be  applied,  morally,  to 
virtue,  and  ugliness  always  to  vice,  yet  sometimes  the 
medium  between  extremes  is  the  cause ;  and  sometimes 
proportion,  fitness,  undulation  of  line,  perhaps  associa- 
tion from  form,  color,  and  expression  may  as  often  be  the 
cause, — yet,  I  maintain,  there  is  something  in  the  form 
and  the  color  that  rouses  the  emotion  of  beauty  before 
any  association  can  take  place  from  intellectual  expres- 
sion ;  and  that  association  is  subsequent  to  the  first  im- 
pression on  the  brain,  and  not  prior  to  it ;  or  co-instanta- 
neous with  it,  if  the  impression  be  the  first  made  on  the 
individual." 

Says  Lord  Jeffrey,  "  Beauty  is  that  property  in  objects 
which  is  recommended  to  the  power  of  taste, — the 
reverse  of  ugliness, — the  primary  and  most  general 
object  of  love  and  admiration." 

Haydon  remarks,  "The  more  one  dwells  on  the  emo- 
tions of  Beauty,  strictly  so  meant,  the  more  is  he  inclined 
to  believe  that,  morally,  mentally,  and  physically,  it  has 
its  origin  altogether  in  woman.  Consider  the  face  and 
form  of  woman  in  its  perfection  and  its  associations,  as 
the  standard  of  all  beauty,  morally  or  by  form ; — and, 
according  as  every  object  in  nature  approaches  to  or 
departs  from  such  standard  by  color,  form,  or  association, 


OriNIONS  UPON  BEAUTY.  189 


the  emotion  produced  by  this  object  is  or  is  not  entitled 
to  be  considered  the  emotion  of  the  beautiful,  and  has 
ever  done  so  from  her  first  appearance  in  the  world. 

"  Lord  Jeffrey  says,  '  Men,  whose  organization  is  per- 
fect, do  not  agree  about  beauty.  The  question  here  arises, 
whether  the  organization  alluded  to  be  that  of  the  eye 
or  the  brain  ?  To  settle  this  were  to  settle  the  whole 
matter.' 

"  Thus  some  men  have  perfect  sight,  and  yet  do  not 
see  color  or  take  any  delight  in  it, — others  (like  myself) 
have  imperfect  sight,  and  yet  have  the  most  exquisite 
sensations  from  the  perception  of  colors.  So  a  man. 
may  have  the  dullest  vision  and  yet  see  beauty ;  and 
possess  the  most  perfect  sight,  and  yet  not  see  beauty  in 
anything, 

"  The  form  of  a  tree  is  beautiful ;  and  the  form  of  a  fine 
woman,  of  a  column,  and  of  a  vase.  'But'  (remarks 
Jeffrey)  '  how  can  it  be  said  that  the  form  of  a  woman 
has  anything  in  common  with  the  form  of  a  tree  ?' 

"  Simply  because  the  vase,  the  column,  and  the  tree, 
and  the  woman  can  be  proved  to  merit  the  name  of 
beautiful  only  as  they  each  partake  more  or  less  of  the 
womanly  form.  They  are  each  beautiful  through  pos- 
sessing principles  in  common  which  excite  the  emotion 
by  form. 

"  All  love  worth  anything  has  been,  since  the  world 
began,  love  at  first  sight. 

'  They  have  changed  eyes,  delicate  Ariel; 
I'll  set  thee  free  for  this.' 

Tempest. 

"Surely  love  at  first  sight  is  emotion  from  beauty 
antecedent  to  experience,  or  the  slightest  knowledge  of 
each  other's  virtues ;  for  the  most  celebrated  lovers  have 


190  THE  CAMERA  AND  THE  PENCIL. 

been  distinguislied  for  mutual  beauty  of  face  and  figure, 
and  for  instant  infatuation. 

'*  Jefiirey  denies  any  organization  of  brain  for  tbe  im- 
pressions of  color,  as  for  those  of  beauty ;  and  suspects 
the  enthusiasm  of  great  artists  for  color  to  be  what  he 
terms  jargon. 

"  So  the  intense  sensibility  to  the  beauty  of  color  in 
nature,  felt  and  expressed  by  Titian,  or  Rubens,  or  Paul 
Veronese,  or  Tintoretto,  or  Correggio,  or  our  own  Rey- 
nolds, was  Jargon/ 

"  The  beauty  of  emotion,  independent  of  expression  or 
association,  based  on  form,  is  the  beauty  with  which  the 
great  artist  has  to  do,  and  which  the  Greeks  attained  in 
a  more  perfect  degree  than  any  other  nation  that  ever 
existed. 

"  Alison  denies  the  existence  of  any  innate  beauty  in 
certain  constructions  and  proportions  of  the  human  face 
or  figure,  and  holds  that  the  beauty  depends  on  the  ex- 
pressions they  conrey. 

"I  maintain"  (says  Haydon)  "that  there  is  a  decided 
emotion  of  beauty  excited  by  certain  proportions  and 
constructions  of  the  human  figure,  as  well  as  in  brute 
forms,  or  forms  without  life." 

"  Many  countenances"  (says  Alison)  "  however  beauti-- 
ful,  are  not  2^ermanently  so.  Domestic  harassings  destroy 
them." 

"Never"  (replies  Haydon) — "a  face  constructively 
beautiful  in  form  no  expression  can  destroy.  Malignity, 
revenge,  anger,  hypocrisy,  anxiety  may  vary  its  expres- 
sions, but  never  destroy  its  beauty ;  for  you  will  always 
find  them  the  bad  passions  of  a  beautiful  countenance. 

"  Character,  color,  expression  can  never  excite  the 
emotion  of  beauty,  if  form,  the  basis,  be  defective. 

"  Alison  (speaking  of  Mrs.  Siddons)  says,  '  Every  ex- 


OPINIONS  UPON  BEAUTY.  191 

pression,  however  various,  was  equally  beautiful;  and 
had  there  been  permanent  beauty  in  any  form,  that  could 
not  have  been  the  case.' 

"But  had  not  the  permanent  construction  of  Mrs.  Sid- 
dons's  face  been  beautiful  as  it  was,  none  of  her  various 
expressions  could  have  been  so ;  for  let  expression  vary 
a  face  as  it  will,  again  remember  they  are  but  the  varia- 
tions of  a  form  perfect  in  its  original  formation. 

"  Beauty  consists  in  something  more  than  the  raven 
locks,  the  oval,  rosy  cheeks,  the  lustrous  eye  with  silken 
lashes,  and  the  strawberry  lip  of  a  lovely  woman.  Let 
these  be  added  to  a  well  proportioned  or  perfectly  shaped 
face,  like  that  of  Yenus,  and  we  have  beauty  in  reality. 

"  We  do  not  bestow  the  term  beauty  on  the  Hercules, 
but  on  the  Apollo, — not  on  the  gladiator,  but  the 
Bacchus, — not  on  the  Juno  or  the  Minerva,  but  the 
Venus, — because  the  manly  form  is  never  termed  beau- 
tifal,  save  as  it  approaches,  without  losing  its  own  special 
characteristics,  the  tenderness  and  delicacy  of  woman's 
form.  In  fact,  the  manly  form  has  nothing  essentially 
beautiful,  physically  or  by  association,  unless  it  ap- 
proaches the  form  of  woman. 

"Form  alone,  independent  of  mind  or  intention  as 
expressed  by  the  countenance,  has  the  power  to  excite 
this  divine  emotion  of  beauty.  Else  how  could  the 
limbs  alone  of  the  Elgin  marbles,  without  head  or  face, 
have,  made  the  hearts  of  the  world  vibrate  at  first  sight  ? 
Yet  proportion,  fitness,  relation,  unity,  and  perfect  con- 
struction in  any  face,  form,  limb,  or  vase  will  not  excite 
the  emotion  of  beauty,  if  the  curves  of  that  face,  or  form, 
or  limb,  or  vase  extend  to  excess  or  approach  to  defi- 
ciency. The  elliptic  is  the  regulating  curve  in  the  form 
and  features  of  a  perfect  woman. 

"  When  Adam  first  saw  Eve,  what  experience  could  he 


192  THE  CAMERA  AND  THE  PENCIL. 

have  had  of  the  emotion  of  beauty  from  form  ?  None 
And  yet  such  an  impression  was  made  bj  this  creature 
BO  lovely  fair, 

'That  what  seemed  fair  in  all  the  world,  seemed  now 
Mean,  or  in  her  summed  up  ;  in  her  contained; 
And  in  her  looks,  which  from  that  time  infused 
Sweetness  into  my  heart,  unfelt  before; 
And  into  all  things  from  her  air  inspired 
The  spirit  of  love/ 

'  On  she  came ; 
Grace  was  in  all  her  steps,  Heaven  in  her  eye, 
In  every  gesture  dignity  and  love.' 

*'  Afterwards  Adam  might  analyze  the  emotion ;  but  we 
affirm  the  object  made  the  impression  first, — continued 
to  make,  and  will  continue  to  make  the  impression  on  all 
future  generations ;  and  the  impression  so  made  is  the 
emotion  of  beauty. 

"Though  convinced  that  the  basis  of  beauty  is  the 
form  of  woman,  yet  the  emotion,  as  explained,  may  be 
illustrated  by  two  divisions : — 

"  1st.  Beauty  purely  intellectual,  which  is  not  excited 
through  the  organ  of  sight  at  the  instant,  but  by  associa- 
tion and  memory  of  previous  impressions. 

"  2d.  Beauty  purely  physical,  where  the  impression  is 
made  by  form  and  color  at  once  on  the  brain  by  the 
nerve  and  through  the  eye,  independent  of  all  asso- 
ciation. 

"  Finally,  everything  in  the  world  which  causes  the 
emotion  of  beauty,  and  can  be  positively  defined  by 
form  and  color,  we  would  call  the  beauty  physical,  which 
by  its  construction  first  makes  the  impression  on  the 
brain;  and  subsequently  excites  the  association  and 
belongs  to  the  art  of  design, — while  all  beauty  which 
excites  the  emotion  by  the  association  and  relation  pre- 


OFINIOXS  UPON  BEAUTY.  193 

sented  to  the  imagination,  and  is  not  at  the  moment 
present  to  the  sight,  we  would  call  the  beauty  intellectual. 

"In  both  cases  nothing  is  beautiful,  physically  or  intel- 
lectually, in  thought  or  in  form,  but  what  has  a  feminine 
tendency,  and  can  be  traced  to  the  perfection  in  form 
and  sympathies  of  woman;  while  all  emotions  of  subli- 
mity are  based  on  the  attributes  and  associations  of  God. 

"  A  great  part  of  the  beauty  of  the  celebrated  descrip- 
tion of  Eve,  in  Paradise  Lost,  consists  in  using  only 
general,  indistinct  expressions,  every  reader  making  out 
the  detail  according  to  his  own  particular  imagination ; 
his  own  idea  of  beauty,  grace,  expression,  dignity,  or  love- 
liness. But  a  painter,  when  representing  Eve  on  cauvas, 
is  obliged  to  give  a  determinate  form,  and  his  own  idea 
of  beauty  distinctly  expressed." 

Michelet  remarks,  "  Titian  preferred  to  paint  beautiful 
women  at  thirty.  Rubens  goes  readily  up  to  forty,  and 
even  beyond. 

"  Van  Dyck  does  not  recognise  age  at  all ;  with  him 
art  is  free.     He  held  a  sovereign  contempt  for  time. 

"  That  powerful  magician,  Rembrandt,  does  more ;  by  a 
gesture,  a  word,  a  look,  a  smile,  he  banishes  all  age. 
The  life,  the  goodness,  and  the  intelligence  suffice  to 
charm  us.  What  was  the  model  ?  Beautiful  and  ador- 
able ?     I  do  not  remember, — I  have  entirely  forgotten. 

"  By  the  ignorant  Medieval  art  youth  and  beauty  were 
held  as  synonymous.  For  the  Mother  of  Christ  it  gives 
us  stiff,  insipid  little  girls. 

"  The  conception  of  beauty  always  involves  a  mental 
impression  or  action.  Exclude  feeling  and  thought,  and 
no  place  will  be  found  for  beauty.  An  able  writer  says, 
'It  will  be  a  convenient  and  natural  arrangement  of  the 
subject  to  consider  beauty  in  relation,  1st,  to  sensation, — • 
2d  to  thought  or  reflection, — 3d,  to  moral  sentiments, — 
13 


194  a'HE  CAMERA    AND  THE  PENCIL. 

and  4th,  to  associated  emotions.  Conclude  witli  a  few 
remarks  on  the  uses  of  beauty.' 

"In  its  simplest  essence  beauty  is  best  defined  by  the 
Bible  phrase,  '  pleasant  to  the  eye.'  Visual  pleasure  is 
the  germinal  form  of  beauty.  '  Truly  the  light  is  sweet, 
and  a  pleasant  thing  it  is  for  the  eyes  to  behold  the  sun.' 

"  But  the  word  receives  far  more  extensive  and  com- 
plex applications.  By  the  transitions  of  language  it 
often  expresses  that  of  which  visual  pleasure  is  no  com- 
ponent, or  a  very  small  one.  An  infant's  delight  in  a 
brilliant  object,  or  some  vivid  color,  illustrates  the  sim- 
plest form  of  beauty. 

"The  mother,  looking  fondly  at  the  infant's  smiling 
face,  and  hearing  its  crow  of  joy,  has  a  more  compact 
feeling  of  the  beautiful. 

"  A  philosopher,  watching  the  two,  exclaims,  '  What 
heautiful  illustrations  of  my  theory !' — using  the  epithet 
partly  in  its  metaphorical  sense,  but  also  in  expression 
of  a  kind  of  beauty,  viz.,  that  of  fitness. 

The  symv2etrical  beauty  of  the  human  face  and  head  is 
mainly  dependent  on  the  bony  structures.  The  beauty 
of  expression,  or  the  beauty  belonging  to  variety,  results 
from  the  action  of  the  muscles  in  the  play  of  the 
features. 

"  The  importance  of  the  human  figure,  as  a  type  of 
beauty,  has  in  all  times  been  recognised.  Yitruvius 
says,  '  No  building  can  possess  the  attributes  of  composi- 
tion, in  which  symmetry  and  proportion  are  disregarded ; 
nor  unless  there  exists  that  perfect  conformation  of  parts 
which  may  be  observed  in  a  well-formed  human  being. 
So  the  members  of  architecture  may  be  said  to  depend, 
in  a  certain  sense,  on  those  of  the  human  body.'  The 
chief  characteristic  of  the  typical  female  foi^m  being  pure 
and  simple  beauty,  while  that  of  the  typical  male  form 


OPINIONS  UPON  BEAUTY.  195 

is  beauty  modified  by  massive  strengtli,  tlie  basis  on 
wliicli  each  of  the  figures  is  constructed,  might  be  pre- 
sumed to  have  reference  to  the  sensations  it  would 
awaken,  the  one  of  loveliness,  the  other  of  strength ;  yet 
the  relative  proportions  of  the  parts  in  each  case  ought 
to  develope  the  same  aesthetic  laws,  though  in  different 
modes.  Such  are  the  properties  of  fitness  which  charac- 
terize the  beauty  of  the  Venus  as  compared  with  that  of 
the  Hercules  of  the  ancients,  and  render  these  statues  the 
perfect  types  of  the  sexes. 

''How  are  we  to  account  for  the  fact,  that  if  a  face, 
though  defective  in  symmetry  and  contour,  is  expressive 
of  certain  mental  states  of  emotion,  it  is  universally 
preferred  to  one,  which  is  faultlessly  regular,  but  wanting 
in  expressiveness  ? 

"The  answer  is,  that  in  a  human  being  we  require 
more  than  a  fine  configuration  of  feature ;  we  desire 
certain  qualities  of  heart  and  mind,  indicated  in  what 
we  term  a  pleasing  as  distinguished  from  a  beautiful  face. 
In  saying  that  this  is  the  more  heautiful,  that  the  more 
pleasing  face,  we  imply  that  we  prefer  the  beauty  of  emo- 
tion, or  mind,  to  that  of  sense, — yet  still  we  unconsciously 
refer  to  a  standard  of  beauty  involving  the  idea  of 
symmetry  or  harmonious  color.  The  face  which  is 
pleasing  in  expression  is  (we  say)  heautiful  in  expression. 
We  have  pleasure  in  both ;  though  a  greater  pleasure  in 
the  expressive  one.  But  that  which  we  characterize  as 
beautiful  par  excellence,  is  that  which  is  of  a  certain 
mould  or  color.  The  pleasure,  however,  which  is  derived 
from  mere  physical  beauty  of  face,  can  never  compete 
with  that  which  is  an  indication  of  beauty  of  charactei." 

Cousin  remarks,  "Is  it  not  an  incontestable  fact,  that 
before  certain  objects,  under  very  different  circumstances, 
we  pronounce  the  following  judgment? — This  object  is 


196         THE  CAMEEA  AND  THE  PENCIL. 

beautiful.  This  affirmation  is  not  always  explicit. 
Sometimes  it  manifests  itself  only  by  a  cry  of  admira- 
tion ;  sometimes  it  silently  rises  in  tbe  mind  that  scarcely 
has  a  consciousness  of  it.  The  forms  of  this  phenome- 
non vary,  but  the  phenomenon  itself  is  attested  by  the 
most  common  and  most  certain  observation,  and  all 
languages  bear  witness  to  it. 

"But;  although  sensible  objects,  with  most  men, 
oftenest  provoke  the  judgment  of  the  beautiful,  they  do 
not  alone  possess  this  advantage ;  the  domain  of  beauty 
is  more  extensive  than  the  domain  of  the  physical  world 
exposed  to  our  view ;  it  has  no  bounds  but  those  of  entire 
nature  and  of  the  soul  and  genius  of  man . 

"Among  sensible  objects,  colors,  sounds,  figures,  move- 
ments, are  capable  of  producing  the  idea  and  the  senti- 
ment of  the  beautiful.  All  these  beauties  are  arranged 
under  that  species  of  beauty  which  (right  or  wrong)  is 
called  physical  beauty. 

"If  from  the  world  of  sense  we  elevate  ourselves  to 
that  of  mind,  truth,  and  science,  we  shall  there  find 
beauties  more  severe,  but  not  less  real.  The  universal 
laws  that  govern  bodies ;  those  that  govern  intelligences ; 
the  great  principles  that  contain  and  produce  long 
deductions ;  the  genius  that  creates,  in  the  artist,  poet,  or 
philosopher, — all  these  are  beautiful,  as  well  as  nature 
herself;  this  is  what  is  called  intellectual  beauty. 

"Finally,  if  we  consider  the  moral  world  and  its 
laws, — the  idea  of  liberty,  virtue,  and  devotedness ;  here 
the  austere  justice  of  an  Aristides,  there  the  heroism  of 
a  Leonidas,  the  prodigies  of  charity  or  patriotism,  we 
shall  certainly  find  a  third  order  of  beauty  that  still  sur- 
passes the  other  two, — to  wit,  moral  beauty. 

"  Physical  beauty,  however,  is  the  sign  of  an  internal 
beauty,  which  is  spiritual  and  moral  beauty ; — and  this 


OPINIONS  UPON  BEAUTY.  197 


is  the  foundation,  the  principle,  the  unity  of  the  beau- 
tiful. 

"  As  often  as  you  give  birth  within  me  to  the  idea  of 
the  beautiful,  you  give  me  an  internal  and  exquisite  joy, 
always  followed  by  a  sentiment  of  love  for  the  object  that 
caused  it.  The  more  beautiful  ^an  object  is,  the  more 
lively  is  the  joy  it  gives  the  soul,  and  the  more  profound 
is  the  love,  without  being  passionate. 

"  The  beauty  of  woman  has  settled  and  unsettled  the 
affairs  of  empires  and  the  fate  of  republics,  when  diplo- 
macy and  the  sword  have  proved  futile. 

"  Certainly"  (observes  Lucian)  ''  more  women  have 
obtained  honor  for  their  beauty,  than  for  all  other  virtues 
besides." 

"  And  Tasso  has  said,  that  '  beauty  and  grace  are  the 
power  and  arms  of  a  woman ;'  while  Ariosto  declares, 
that  '  after  every  other  gift  of  arms  had  been  exhausted 
on  man,  there  remained  for  woman  only  beauty,  the 
most  victorious  of  the  whole.'  There  is  a  great  and 
terrible  testimony  to  the  power  of  female  beauty  in  the 
history  which  Homer  gives  us  of  Helen." 

Says  the  poet, 

"Fair  tresses  man's  imperial  race  ensnare, 
And  Beauty  draws  us  by  a  single  hair." 

"But  where  are  we  to  detect  this  especial  source  of 
power  in  beauty  ?  Often,  forsooth,  in  a  dimple, — some- 
times beneath  the  shade  of  an  eyelid, — or  perhaps 
among  the  tresses  of  a  little  fantastic  curl ! 

"  How  often  have  we  wept  with  affection  over  a  lock 
of  hair,  or  some  such  dear  memento  of  a  departed 
friend ! 

"  With  what  loving  devotion  the  heart  cleaves  to  the 


198  THE  CAMERA  AND  THE  PENCIL. 

sliglitest  thing,  that  brings  back  to  us  a  name  hallowed 
in  our  affections !" 

Fuseli  says,  "  A  genuine  perception  of  beauty  is  the 
highest  degree  of  education,  the  ultimate  polish  of  man, 
the  master-key  of  the  mind ;  it  makes  us  better  than  we 
were  before.  Elevated  or  charmed  by  the  contemplation 
of  superior  works  of  art,  our  mind  passes  from  the 
images  themselves  to  their  authors ;  and  from  them  to 
the  race  which  reared  the  powers  that  furnish  us  with 
models  for  imitation  or  multiply  our  pleasures." 

Thus  far  we  have  transcribed  the  utterances  of  sundry 
eminent  men  upon  various  classes  of  beauty,  which  may 
be  brought  under  the  single  head  of  real  heauty.  It 
remains,  that  we  cite  a  few  passages  upon  what  goes  by 
the  title  of 

IDEAL  BEAUTY. 

And  here  let  Cousin  first  speak.  "  All  the  beauties 
,  hitherto  enumerated,  compose  what  is  called  the  really 
beautiful.  But  above  real  beauty  is  a  beauty  of  another 
order — ideal  beauty.  The  ideal  resides  neither  in  an 
individual,  nor  in  a  collection  of  individuals.  Nature  or 
experience  furnishes  us  the  occasion  of  conceiving  it,  but 
it  is  essentially  distinct.  Let  it  once  be  conceived,  and 
then  all  natural  figures,  though  never  so  beautiful,  are 
only  images  of  a  superior  beauty,  which  they  do  not 
realize.  For  the  Ideal  constantly  recedes,  as  we  approach 
it.  Its  last  termination  is  in  the  Infinite,  that  is  to  say, 
in  God, — or,  to  speak  more  correctly,  the  true  and 
absolute  Ideal  is  nothing  else  than  God  Himself." 

Plato's  remarks  upon  this  species  of  beauty  may  wear 
somewhat  of  a  mystical  aspect,  but  will,  I  think,  reward 
the  reader's  careful  consideration.     They  are  as  follows  : 

"  Eternal  beauty,  unbegotten  and  imperishable ;    ex- 


OPINIONS  UPON  BEAUTY.  199 


empt  from  decay  as  well  as  increase ;  which  is  not  beau- 
tiful in  such  a  part  and  ugly  in  such  another;  not 
beautiful  only  at  such  a  time,  in  such  a  place,  in  such  a 
relation ;  not  beautiful  for  some  and  ugly  for  others  ; 
beauty  that  has  no  sensible  form,  no  visage,  no  hands, 
nothing  corporeal ;  which  is  not  such  a  thought,  or  such 
a  particular  science ;  which  resides  not  in  any  being  dif- 
ferent from  itself,  as  an  animal,  the  earth,  or  the  heavens, 
or  any  other  thing;  which  is  absolutely  identical  and 
invariable  by  itself;  in  which  all  other  beauties  partici- 
pate, though  in  such  a  way  that  their  birth  or  their 
destruction  neither  diminishes  nor  increases,  nor  at  all 
changes  it. 

"  In  order  to  arrive  at  this  perfect  beauty  it  is  neces- 
sary to  commence  with  the  beauties  of  this  lower  world ; 
and,  the  eyes  being  fixed  upon  the  supreme  beauty,  to 
elevate  ourselves  unceasingly  towards  it  by  passing  (so 
to  speak)  through  all  the  degrees  of  the  scale,  from  a 
single  beautiful  body  to  two,  from  two  to  all  others; 
from  beautiful  bodies  to  beautiful  sentiments  ;  from  beau- 
tiful sentiments  to  beautiful  thoughts ;  until  from  thought 
to  thought  we  arrive  at  the  highest  thought,  which  has 
no  other  object  than  the  beautiful  itself,  until  we  end  by 
knowing  it  as  it  is  in  itself.  0,  that  which  can  give 
value  to  this  life  is  the  spectacle  of  the  eternal  beauty. 
What  would  be  the  destiny  of  a  mortal  to  whom  it 
should  be  granted  to  contemplate  the  beautiful  without 
alloy  in  its  purity  and  simplicity ;  no  longer  clothed  with 
the  flesh  and  hues  of  humanity,  and  with  all  those  vain 
charms  that  are  doomed  to  perish  ;  to  whom  it  should  be 
given  to  see  face  to  face,  under  its  sole  form,  the  Divine 
Beauty  V 

To  this  passage  from  Plato's  ''Banquet"  I  subjoin  the 
followinoj  from  his  Timseus  : — 


200         THE  CAMERA  AND  THE  PENCIL. 

"  The  artist  who,  with  eye  fixed  upon  the  Immutable 
Being,  and  using  such  a  model,  reproduces  its  idea  and 
its  excellence,  cannot  fail  to  produce  a  whole  whose 
beauty  is  complete  ;  while  he,  who  fixes  his  eye  upon 
what  is  transitory,  will,  with  this  perishable  model,  make 
nothing  beautiful." 

Cicero,  in  his  De  Oratore,  referring  to  the  same  sub- 
ject, says,  "  Phidias,  that  great  artist,  when  he  made  the 
form  of  Jupiter  or  Minerva,  did  not  contemplate  a  model, 
whose  resemblance  he  would  express ;  but  in  the  depth 
of  his  soul  resided  a  perfect  type  of  beauty  upon  which 
he  fixed  his  look,  and  which  guided  his  hand  and 
his  art." 

Ruskin  remarks,  "  An  ideal  form,  in  the  common  use 
of  the  term,  is  one  containing  all  or  most  of  the  fully 
developed  types  or  characters  of  its  species. 

"Strictly  speaking,  ideal  works  of  art  represent  the 
results  of  acts  of  imagination. 

"  A  perfect  ideal  may  be  wrought  out  of  every  face 
around  us  by  the  earnest  study  and  penetration  of  the 
written  history  thereon,  and  the  banishing  of  the  blots 
and  stains,  wherein  we  still  see,  in  all  that  is  human,  the 
visible  and  instant  operation  of  unconquered  sin." 

"Every  natural  object,"  (says  Cousin)  "however  beau- 
tiful, is  defective  on  some  side.  Everything  that  is  real 
is  imperfect.  Here  the  horrible  and  the  hideous  are 
united  to  the  sublime, — there  elegance  and  grace  are 
separated  from  grandeur  and  force.  The  trai  s  of  beauty 
are  scattered  and  diverse.  To  re-unite  them  arbitrarily ; 
to  borrow  from  such  a  face  a  mouth,  eyes  from  such 
another,  without  any  rule  that  shall  govern  this  choice 
and  direct  these  borrowings,  is  to  compose  monsters ;  to 
admit  a  rule  is  already  to  admit  an  ideal  different  from 
all  individuals.    It  is  this  ideal  that  the  true  artist  forms 


OPINIONS  UPON  BEAUTY.  201 

to  himself  in  studying  nature.  Without  nature  he  would 
never  have  conceived  this  ideal, — but  with  this  ideal  he 
judges  nature  herself;  rectifies  her;  and  dares  undertake 
to  measure  himself  with  her. 

"It  is  difl&cult  to  sketch  an  infallible  standard  of  a 
beautiful  woman.  Canova  was  obliged  to  have  sixty 
different  women  sit  for  his  Venus;  and  how  shall  we 
dare  point  to  any  one  woman,  and  say  that  she  is  per- 
fectly beautiful  ? 

"  When  Zeuxis  drew  his  famous  picture  of  Helen,  he 
modelled  his  portrait  from  the  separate  charms  of  five 
different  virgins. 

"The  process,  which  Eaphael  says  he  pursued  in  paint- 
ing his  Galatea  was  this, — '  I  am  destitute  of  beautiful 
models, — I  use  a  certain  ideal,  which  I  form  for  myself.'  " 

Says  Proclus,  "He  who  takes  for  his  models  such 
forms  merely  as  nature  produces,  will  never  attain  per- 
fection ;  for  the  works  of  nature  are  full  of  dissonances 
and  disproportion,  and  fall  very  short  of  the  true  stand- 
ard of  beauty.  On  this  account  Demetrius  was  blamed 
for  being  too  natural,  and  Dionysius  was  ironically  called 
the  man-painter.,  Lysippus,  on  the  contrary,  adhering 
to  the  precept  of  Aristotle,  given  to  painters  and  poets, 
boasted  that  he  made  men,  not  as  they  were,  but  as  they 
ought  to  be ;  and  Phidias  astonished  all  those  who  beheld 
the  forms  he  gave  to  his  gods  and  heroes,  not,  according 
to  Cicero,  by  copying  any  object  ever  presented  to  his 
sight,  but  by  contemplating  the  more  perfect  idea  of 
beauty  in  his  mind,  to  the  imitation  of  which  all  his  skill 
and  labor  were  directed. 

"From  this  care  to  advance  their  art  even  beyond 
nature  itself  in  its  individual  productions,  arises  that 
admiration,  that  almost  adoration,  which  is  paid  by  all 
competent  judges  to  those  divine  remains  of  antiquity 


202         THE  CAMERA  AND  THE  PENCIL. 


which  have  come  down  to  us.  Hence  Phidias,  Lysippus 
and  other  great  sculptors  are  still  held  in  veneration; 
and  Apelles,  Zeuxis,  and  other  excellent  painters,  though 
their  works  have  perished,  are  and  for  ever  will  be 
admired," 

COMMENTS  ON  THE  FOREGOING. 

I  trust  it  may  not  seem  presumptuous,  if  I  present  a 
few  remarks  of  my  own  upon  the  foregoing  citations, 
and  the  interesting  subject  to  which  they  relate. 

They  indicate,  it  will  be  perceived,  that  somewhat  dif- 
ferent theories  exist  among  artists  and  art-critics,  as  to 
what  beauty  is,  and  how  the  impression  of  beauty  is 
stamped  upon  our  minds.  Some  hold  that  in  certain  ob- 
jects, of  both  the  physical  and  the  spiritual  worlds,  there 
is  a  property  which  produces  this  impression  directly  and 
antecedently  to  all  analysis  or  association.  That  these 
are  right  in  their  views, — at  least  in  a  great  degree, — I 
have  no  doubt. 

Others  maintain  that  beauty  is  altogether  a  matter  of 
association ;  or  that  one  object  is  beautiful  and  another 
ugly  solely  in  consequence  of  certain  ideas  or  feelings 
which  have  become  connected  with  them, — as  pleasure 
or  pain,  or  whatever  else.  That  these  persons  are  in 
error, — partially,  at  all  events, — I  feel  confident.  Equal- 
ly confident,  however,  do  I  feel  that,  in  regard  to  what 
are  entitled  intellectual  and  moral  beauty,  their  views 
are  mainly  if  not  entirely  correct.  For,  from  the  very 
nature  of  the  case,  the  capacity  of  discerning  and  enjoy- 
ing these  two  species  of  the  beautiful  implies  somewhat 
of  cultivation  and  mental  development ;  and  the  una- 
voidable result  of  cultivation  is  to  environ  our  primary 
ideas  and  feelings  with  a  multiplicity  of  secondary  or 
associate  ideas  and  feelings. 


OPINIONS  UPON  BEAUTY.                              203 
i 

Still  more  determinately  is  the  capability  to  penieive 
and  delight  in  ideal  beauty  the  fruit  of  high  culture, — 
a  culture,  too,  which  has  produced,  to  a  more  than  ave- 
rage degree,  a  harmonious  development  of  the  several 
elements  of  our  complex  nature. 

It  has  occurred  to  me,  that  by  passing,  in  reverse  order, 
through  the  process  whereby  (according  to  Plato)  the 
perception  of  ideal  beauty  is  attained ;  that  is,  by  descend- 
ing from  God  into  material  nature,  instead  of  ascending 
from  material  nature  to  God, — we  might  reach  a  theory, 
or  at  least  a  conception,  of  the  beautiful,  which  would 
conciliate  present  antagonisms  and  divergencies  of 
opinion  on  the  subject,  and  exhibit  the  whole  matter  in 
a  simpler,  compacter  form,  than  is  anywhere  found  in 
the  books.  Let  me,  albeit  with  much  dif&dence,  try  the 
experiment. 

What,  then,  is  the  ultimate  source  of  beauty  ?  Unde- 
niably for  beauty,  as  for  all  things  conceivable  else,  that 
source  is  to  be  found  in  God.  Beauty,  therefore,  is  one 
of  the  Divine  manifestations.  Thus  contemplated,  it 
stands  on  the  same  footing  with  the  Power  manifested 
in  the  primal  creation  and  the  continuous  upholding 
and  regulation  of  the  universe, — with  the  wisdom  that 
adapts  infallible  methods  and  means  to  the  accomplish- 
ment of  the  fittest  ends, — with  the  benevolence,  good- 
ness, or  love  that  has  devised  such  multitudinous  provi- 
sions for  the  welfare  and  enjoyment  of  all  living  creatures, 
— and  with  numerous  other  of  the  Divine  attributes 
which,  without  specifying,  will  at  once  occur  to  all.  All 
these  alike  exhibit, — and  may  we  not  reverently  suppose 
it  to  be  one  at  least  of  their  main  pur2:)oses  to  exhibit  to 
ourselves,  in  such  modes  and  degrees  as  our  finite,  im- 
perfect natures  can  comprehend, — the  character  and  will 


204  THE  CAMEEA-AND  THE  PENCIL. 

of  the  unseen,  yet  omnipresent,  Author  of  universal 
life? 

Were  it  worth  the  while  to  go  into  minute  analysis, 
we  might  query  whether  beauty  be  not  one  of  the  modi- 
fications or  forms  assumed  by  the  Divine  benevolence 
or  love,  since  its  specific  effect  is  to  delight,  elevate, 
better  its  percipients, — and  how  could  we  more  exactly 
describe  the  intent  of  the  Divine  Benignity,  than  in 
these  self-same  terms? 

The  whole  boundless  universe,  material  and  spiritual, 
— what  is  it  but  an  aggregate  of  means  whereby  the 
Deity  is  revealed  to  His  creatures, — a  mirror  that  reflects 
with  greater  or  less  distinctness  and  completeness  His 
image?  For  the  life  that  is  in  the  material  creation;  in 
the  animal  kingdom;  and  in  human  kind,  is  alike  a 
perpetual  influx  from  Him,  and  traces  of  his  character 
are  plainly  discernible  throughout  each  and  all.  In  that 
quality  of  physical  things  which  gives  us  that  delight- 
ful impression  which  we  call  beauty, — what  do  we  be- 
hold but  one  aspect  of  His  nature  ? 

Again,  in  those  entities  of  the  spiritual  universe  which 
inspire  the  still  more  delightful  and  august  sentiments, 
which  we  name  intellectual  and  moral  beauty, — what  do 
we  perceive  other  than  the  self-same  aspect  or  element  of 
the  Divine  Nature  disclosed  more  fully  and  by  modes 
differing  from  the  former  ? 

And,  finally,  what  is  ideal  beauty,  but  the  same 
characteristic  of  the  Universal  Father,  shown  us  through 
a  specifiG  operation  of  those  human  minds  which  He  spake 
into  being,  fashioned  to  be  what  they  are,  and  continually 
inspires  to  ''go  up  higher  and  still  higher?" 

It  is  not  presumed  that  in  this  view  there  is  anything 
wholly  new, — far  less,  anything  at  all  brilliant.  To 
myself,  however,  it  seems  to  have  at  least  the  single 


OPINIONS  UPON  BEAUTY.  205 

advantage  of  placing  the  whole  matter  in  an  easily  com- 
prehensible shape.  I  cannot  but  look  upon  the  majority 
of  the  discussions  we  meet  with  about  the  origin  and 
nature  of  the  Beautiful,  as  fruitless  and  even  idle.  For 
if  it  be,  as  I  think  it  is,  a  fact  that  all  or  nearly  all  per- 
sons of  well-tempered  native  faculties,  whether  educated 
or  uneducated,  agree  in  calling  a  rose,  or  pine  tree,  or  a 
certain  type  of  animal  form,  or  of  human  face,  beautiful, 
— and  thus  agree  because  these  objects  make  substan- 
tially the  same  impression  upon  them  all, — what  practical 
difference  does  it  make  whether  that  impression  is  derived 
from  the  objects  directly  and  "at  first  hand,"  or  whether  it 
comes  from  certain  collateral  ideas,  unconsciously  associ- 
ated with  the  objects  in  the  minds  of  the  beholders  ?  In 
either  case,  the  great  fact  remains  undeniable,  that  the 
cause  of  the  impression,  whatever  it  be,  is  from  and  in 
the  ultimate  Cause  of  all  existences,  and  that  beauty  is 
one  of  His  manifestations. 

The  question  whether  physical  beauty  be  not  the 
envelope  or  reflection  of  a  higher  or  spiritual  beauty, 
appears  to  me  no  question  at  all.  For  what  are,  what 
can  be,  all  physical  entities,  but  embodiments  and  repre- 
sentations of  entities  spiritual  ?  The  former  could  no 
more  subsist  without  an  ever  indwelling,  universally 
perfused  spiritual  life,  than  the  human  body  could  subsist 
without  its  in-living  soul. 

So,  by  certain  causes,  certain  impressions  are  made 
upon  us,  which  we  variously  denominate  intellectual, 
moral,  and  ideal  beauty.  What  matters  it  whether  these 
causes  be  simple  or  complex, — made  up  of  'prim.ary  ele- 
ments, or  of  primary  combined  with  secondary  or 
associate  elements  ?  It  still  remains  a  truth  that  these 
causes,  be  they  what  they  may,  are  from  the  Infinite  of 
causes,  and  are  representations  or  manifestations  of  the 
same. 


206         THE  CAMEEA  AND  THE  PENCIL. 

To  sum  up,  witli  somewhat  of  reiteration.  The  total 
universe,  with  its  infinitely  diverse  existences,  is,  of 
necessity,  an  aggregation  of  methods  and  means,  whereby 
the  cha-acter  and  will  of  the  Creator  are  expressed  to  us. 
Beauty  is  the  name  we  have  agreed  to  af&x  to  07ie  of 
these  expressions ;  and  as  the  universe  comprises  the 
three  elements  of  physical,  intellectual,  and  moral,  this 
expression  must  needs  appear  in  all  the  three. 

A  thousand  questions,  indeed,  may  be,  as  they  have 
been,  raised  by  perverted  metaphysics  upon  this  subject; 
and  argued  without  hope  of  solution.  But  for  their  con- 
testants, as  for  all  beside,  the  great  verity  stands  un- 
touched, that  beauty  is, — that  it  appears  in  each  of  the 
several  kingdoms  composing  the  universe, — and  that  as 
these  kingdoms  come  from  God,  beauty  must  necessarily 
be  one  among  the  multitudinous  modes  of  Divine  mani- 
festation. 

The  question  about  the  best  means  and  appliances  for 
expressing  beauty  in  art  is  a  totally  different  one.  How 
to  use  lines,  colors,  lights  and  shades,  &c.,  may  properly 
occupy  the  attention  of  artists  and  art-critics,  for  investi- 
gation and  reiterated  experiment  can  alone  solve  the 
problem. 

But  the  question  here  considered  is  wholly  as  to  the 
origin  and  quality  of  beauity ;  and  this,  I  think,  may  best 
be  answered  by  going  directly  to  the  Author  of  existence, 
and  beholding,  in  all  that  is,  an  aggregate  of  expressions 
of  Himself.  Power,  wisdom,  goodness,  mercy, — these 
attributes  of  Divinity  may  be  clearly  traced  through  the 
moral,  intellectual,  and  physical  kingdoms.  Not  less 
clearly  through  the  same  kingdoms  may  beauty  be 
traced.  And  for  myself,  at  least,  this  account  of 
beauty,  its  origin  and  nature,  abundantly  sufi&ces. 


(JHAPTEK  XXIY. 

ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS. 

Opinions  of  ancient  and  modern  writers  on  the  same — Sublimity  tind  Beauty, 
for  art-purposes,  comprised  by  the  latter  term :  Ruskin,  Grace  Darling, 
Florence  Nightingale,  Cousin,  Symonds^ — -Remarks  on  Genius :  Reynolds, 
Fuseli,  Haydon — Imagination,  Invention,  Passion,  Taste:  Ruskin,  Burke — 
Drawing  or  Design  :  Fuseli,  Barry — Grace  :  Allston — Repose  :  Ruskin, 
Michelet — Composition  :  Ruskin,  Haydon — Color:  Opie,  Fuseli — Symmetry : 
Symonds — Light  and  Shadow  :  Quintilian,  Reynolds,  &c.,  Ovid — Expres- 
sion :  Reynolds,  Du  Piles,  Lawrence,  Curran,  Stuart,  Trumbull,  Inman, 
Bell,  Aristides,  Timanthes,  Stothard,  &c. — Portrait:  Howard,  Northcote, 
Ac. — Sculpture  :  Agesander,  Barry,  Haydon,  Allston,  &o. 

In  attempting  to  bring  the  miscellaneous  remarks  of 
various  distinguished  persons,  collected  in  my  leisure 
moments,  into  such  partial  order,  at  least,  as  might  make 
them  more  useful  to  the  reflective  reader,  it  seemed  to 
me  most  logical  to  put  the  paragraphs  on  beauty  at  the 
head  of  the  series.  For,  rigorously  speaking,  beauty 
furnishes  alike  the  field  in  which,  and  the  materials  with 
which,  art  works.  To  describe,  then,  what  beauty  is, 
naturally  precedes  the  description  of  what  art  is,  and 
what  it  does  or  aims  to  do. 

And  here  let  me  offer  a  suggestion  for  which  I  cannot 
cite  chapter  and  verse,  and  therefore  must  merely  ask 
that  it  pass  for  what  it  may  seem  intrinsically  worth.  It 
is  this,  that  the  terms  sublime  and  beautiful,  though,  in 
popular  use,  they  may  denote  different  things,  should, 
in  the  highest  generalization,  and  in  the  view  of  high 
art,  be  held  to  denote  only  different  branches  or  degrees 

(207) 


208         THE  CAMEEA  AND  THE  PENCIL. 

of  the  one  great  total  of  beauty.  For,  as  a  general  rule, 
the  perception  of  beauty  gives  pleasure  or  delight  of 
some  species.  So,  also  and  equally,  does  the  perception 
of  sublimity.  Therefore  it  is,  that  men  enjoy  whatever 
embraces  either  of  these  elements.  Bat  the  pleasure 
derived  from  the  sublime  differs  from  that  caused  by  the 
beautiful,  certainly  in  degree,  and,  perhaps,  in  kind.  It 
is  commonly  more  absorbing  and  overmastering,  tinged 
with  awe,  and  not  seldom  with  terror.  Still,  both  are 
alike  characterized  as  being  sources  of  enjoyment,  and 
therefore  both  are  subjects  of  art. 

Note,  too,  how  in  poetic,  and  even  in  ordinary  speech, 
the  epithets  denoting  the  one  are,  interchangeably,  often 
applied  to  the  other.  Thus,  we  speak  of  the  "awful 
heaut'i/^  of  a  thunder-storm  or  a  tempest-vexed  ocean, — 
two  scenes  familiarly  cited  as  examples  of  the  sublime. 
Again, 

"And  if  the  freshening  sea 
Made  them  a  terror,  'twas  a  pleasing  fear  ; 
For  I  was,  as  it  were,  a  child  of  thee, 
And  sported  with  thy  billows,  far  and  near;" 

says  Byron,  in  his  celebrated  Address  to  the  Ocean. 

"Pleasing  fear''  is  a  phrase  combining  the  two  several 
emotions  produced  by  beauty  and  sublimity,  as  these 
terms  are  popularly  understood.  They  fully  substantiate 
my  suggestion  above  made. 

A  passage  just  lighted  upon  in  Euskin,  goes  far  to 
confirm  my  view.  "Sublimity  is  not  a  specific  term,^ — 
not  a  term  descriptive  of  the  effect  of  a  particular  class 
of  ideas.  Anything  which  elevates  the  mind  is  sublime, 
and  elevation  of  mind  is  produced  by  the  contempla- 
tion of  greatness  of  any  kind ;  but  chiefly,  of  course,  by 
the  greatness  of  the  noblest  things.  Sublimity  is,  there- 
fore, only  another  word  for  the  effect  of  greatness  upon 


AET,  WITH  ITS  I]S'CIDENTS  AND  BELONGINGS.        209 

the  feelings.  Greatness  of  matter,  space,  power,  virtue, 
or  beauty,  are  thus  all  sublime;  and  there  is,  perhaps, 
no  desirable  quality  of  a  work  of  art,  which,  in  its  per- 
fection, is  not,  in  some  way  or  degree,  sublime." 

Sublimity,  then,  according  to  this  ablest  of  present  art- 
critics,  is  beauty  in  a  high,  or  the  highest,  degree.  The 
devotion  of  Leonidas  and  his  three  hundred,  at  Thermo- 
pylge,  was  heroic,  i.  e.  great,  noble  in  the  highest 
degree,  and,  therefore,  sublime.  But  can  any  one  deny 
that  the  devotion  of  those  heroes  was  not  also  beautiful  ? 
Beautiful?  Why,  it  was  beauty  in  its  very  essence;  a 
consecration  to  principle,  to  what  was  believed  right, 
which,  at  the  distance  of  8000  years,  inspires  a  pleasure 
glistening  through  tears,  that,  instead  of  enervating, 
kindles  an  emulative  desire  to  follow,  under  such  condi- 
tions as  are  furnished,  so  glorious  a  leading ! 

Grace  Darling, — Florence  Nightingale, — their  deeds, 
under  the  circumstances,  were  sublime — but  were  they 
not  beautiful  ?  Yes,  they  were  sublimely  beautful — ^.  e, 
beautiful  in  an  exalted  degree. 

I  might  illustrate  by  examples  numberless  ;  but  these 
(I  think)  will  suffice  to  show  that,  for  purposes  of  art  at 
least,  what  are  commonly  termed  the  sublime  and  the 
beautiful,  both  fall  under  the  single  designation  of  beauty, 
— and  that,  therefore,  we  may  philosophically  say  that 
beauty  is  the  domain  of  art. 

Cousin  remarks,  ''  The  sole  object  of  art  is  the  beautiful. 
Art  abandons  itself  as  soon  as  it  shuns  this. 

"  The  arts  are  called  the  fine  arts,  because  their  sole 
object  is  to  produce  the  disinterested  emotion  of  beauty, 
without  regard  to  the  utility  either  of  the  spectator  or 
the  artist. 

"  The  problem  of  art  is  to  reach  the  soul  through  the 
body.  Art  offers  to  the  senses,  forms,  colors,  sounds, 
14 


210  THE  CAMERA  AND  THE  PENCIL, 

words,  so  arranged,  that  they  excite  in  tlie  soul  concealed 
behind  the  senses,  the  inexpressible  emotion  of  beauty. 

"  Art  is  the  free  reproduction  of  the  beautiful ;  not  of  a 
single  natural  beauty,  but  of  ideal  beauty,  as  the  human 
imagination  conceives  it  by  the  aid  of  data,  which  nature 
furnishes  it.  The  ideal  beauty  envelops  the  infinite ; — 
the  end  of  art,  then,  is  to  produce  works  that,  like  those 
of  nature,  or  even  in  a  still  higher  degree,  may  have  the 
charm  of  the  Infinite. 

"Every  work  of  art,  whatever  may  be  its  form,  small 
or  great,  figured,  sung,  or  uttered, — every  work  of  art,' 
truly  beautiful  or  sublime,  throws  the  soul  into  a  gentle 
or  severe  revery,  that  elevates  it  towards  the  Infinite." 

Symonds  says,  "Art  is  inclusive  of  nature.  It  is 
nature,  and  something  more.  Nature  is  substance  exist- 
ing in  certain  forms  and  modes  and  conditions  of  being, 
full  of  forces,  which  are  latent  or  actively  at  work, — and 
man  is  in  the  midst  of  them.  If  he  is  content  with  nature 
as  he  finds  it,  he  is  a  dwarfed,  undeveloped  being.  But 
it  is  not  so ;  for  it  is  obvious,  that  there  ever  arises  in  his 
mind  a  dissatisfaction  with  the  world  about  him.  He 
has  capacities  of  enjoyment,  which  this  rude,  uninformed 
nature  will  not  satisfy ;  his  thoughts  grow,  and  nature  is 
compelled  to  grow  in  co-ordination  with  his  thoughts. 
Hence  arises  art," 

Cousin  says,  "Let  us  be  thoroughly  penetrated  by  the 
thought,  that  art  is  to  itself  a  kind  of  religion.  God  mani- 
fests Himself  to  us  by  the  idea  of  the  True,  by  the  idea 
of  the  Good,  by  the  idea  of  the  Beautiful.  Each  one  of 
these  leads  to  God,  because  it  comes  from  him.  True 
beauty  is  ideal  beauty,  and  ideal  beauty  is  a  reflection 
of  the  Infinite,  So,  independently  of  all  official  alliance 
with  religion  and  morals,  art  is  by  itself  essentially 
religious  and  moral ;  for,  far  from  wanting  its  own  law. 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        211 

its  own  genius,  it  everywhere  expresses  in  its  works 
eternal  beauty." 

(I  may  here  remark,  that  most  of  the  passages  in  this 
collection,  though  applicable,  to  a  certain  extent,  to  the 
whole  five  of  what  are  usually  reckoned  the  fine  arts, 
viz.  painting,  sculpture,  architecture,  poetry,  and  music, 
yet  have  a  more  particular  reference  to  the  first  two  of 
these.) 

Cousin  says,  "The  arts  have  a  common  end,  and 
entirely  difi'erent  means.  Hence  there  are  general  rules 
common  to  all,  and  particular  rules  to  each." 

The  foregoing  paragraphs  must  suffice  for  the  present 
as  brief,  specific  definitions  or  descriptions  by  standard 
writers  of  the  nature,  origin,  and  objects  of  art.  These 
points  will  be  found  more  fully  dealt  with  further  on  in 
the  accounts  of  and  remarks  upon  various  artists  which 
are  there  cited. 

It  remains  here  to  cite  sundry  passages  upon  what  I 
have  entitled  the  incidents  or  belongings  of  art, — in  other 
phrase,  the  powers,  means,  and  appliances  employed 
therein.     And 

1.   GENIUS. 

Reynolds  (Sir  Joshua)  remarks,  "  Genius  is  sup- 
posed to  be  the  power  of  producing  excellencies  which 
are  beyond  the  reach  of  the  rules  of  art, — a  power 
which  no  precepts  can  teach  and  no  industry  acquire. 
When  the  arts  were  in  their  infancy,  the  power  of  merely 
drawing  the  likeness  of  any  object  was  considered  one 
of  its  greatest  efforts.  The  common  people,  ignorant  of 
the  principles  of  art,  employ  a  similar  language  to 
this  day. 

"When,  however,  it  is  found  that  most  men  may  be 
taught  to  do  this,  it  should  be  remembered  that  it  is  the 
man  of  genius  only  who  excels  in  invention,  expression, 


212         THE  CAMEEA  AND  THE  PENCIL. 

dignity,  and  grace, — in  sliort,  those  qualities  or  excel- 
lencies, tlie  power  of  producing  whicli  cannot  be  taaght 
by  any  promulgated  or  known  rules. 

"  Wbat  is  now  entitled  genius  begins  not  wbere  rules, 
abstractly  considered,  end,  but  where  the  trite  and 
vulgar  rules  heretofore  in  vogue  have  no  longer  any 
place. 

"  When  an  artist  is  sure  that  he  is  upon  firm  ground, 
supported  by  the  authority  and  practice  of  his  predeces- 
sors, of  the  greatest  reputation,  he  may  then  assume  the 
boldness  and  intrepidity  of  genius." 

Says  Beechey,  "  The  painter  of  genius  first  masters 
the  subject  he  is  to  represent  by  reading  or  other  means, 
and  then  works  his  imagination  up  into  a  species  of 
enthusiasm,  till  in  a  degree  he  perceives  the  whole  event 
before  his  eyes ;  when,  as  with  the  quickness  of  light- 
ning, he  puts  his  rough  sketch  on  paper  or  canvas.  By 
consequence  his  work  has  the  air  of  genias  stamped  upon 
it ;  while  the  contrary  method  of  proceeding  will  ine- 
vitably result  in  tameness,  and  produce  pictures  wearing 
the  semblance  of  mere  copies. 

"Genius  is  mainly  exerted  upon  historical  subjects, 
and  the  art  of  the  portrait-painter  is  often  lost  in  the 
obscurity  of  his  subject." 

Says  Eeynolds,  "A  readiness  in  taking  such  hints  as 
escape  the  dull  and  ignorant  makes,  in  my  opinion,  no 
inconsiderable  part  of  that  mental  faculty  which  is  called 
genius." 

Fuseli  says,  "It  is  the  lot  of  genius  to  be  opposed,  and 
to  be  invigorated  by  opposition.  All  extremes  touch 
each  other ;  frigid  praise  and  frigid  censure  wait  on 
easily  attainable  or  common  powers ;  but  the  successful 
adventurer  in  the  realms  of  discovery,  in  spite  of  the 
shrugs,  checks,  and  sneers  of  the  timid,  the  malign,  and 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        213 

the  envioas,  leaps  on  an  unknown  or  long-lost  shore, 
ennobles  it  with  his  name,  and  grasps  immortality. 

"  Genius  is  the  pupil  of  nature ;  perceives,  is  dazzled, 
and  imperfectly  transmits  one  of  her  features ;  thus  saw 
Michael  Angel o,  Raflaellq,  Titian,  Correggio.  We  find 
Michael  Angelo  more  sublime,  but  we  sympathize  more 
with  Eaffaelle.  When  Eeynolds  said  that  M.  Angelo 
had  more  imagination,  and  Eaffaelle  more  fancy,  he 
meant  to  say  that  the  one  had  more  sublimity,  more  ele- 
mentary fire ;  the  other  was  richer  in  social  imagery,  in 
genial  conceits,  and  artificial  variety.  Simplicity  is  the 
stamen  of  M.  Angelo ;  varied  propriety  that  of  Eaffaelle." 

Says  Henry  Howard,  "  The  principles  of  the  fine  arts 
exist  originally  in  the  deep  recesses  of  our  nature,  wait- 
ing for  genius  to  discover  and  apply  them." 

Haydon  remarks,  "  The  theory  of  Eeynolds  was  that 
of  the  Johnsonian  period,  though  Burke  was  a  living 
thunderbolt  of  refutation.  Johnson  said,  'Grenius  was 
nothing  but  a  mind  of  large  general  powers,  accidentally 
determined  to  some  particular  object,' — and  Madame  de 
Stael,  in  Corinne,  said  that  '  genius  was  only  the  ordi- 
nary faculties  of  us  all  carried  to  a  greater  pitch  of 
refinement  than  most  men  possess  them; — but  neither 
theory  goes  far  enough ;  genius  is  a  natural  and  not  an 
acquired  power  which  accident  develops  but  cannot 
create." 

Says  Cousin,  "  Genius  alone  has  the  power  to  convert 
conceptions  into  creations.  Genius  creates, — it  does  not 
imitate.  But  genius,  it  may  be  said,  is  then  superior  to 
nature,  since  it  does  not  imitate  it,  and  nature  is  the 
work  of  God.  No — genius  is  not  the  rival  of  God,  but 
it  is  the  interpreter  of  Him.  Doubtless  in  one  sense  art 
is  an  imitation,  for  absolute,  creation  belongs  to  God  alone. 

"  Art  being  the  free  reproduction  of  beauty,  the  power 


214         THE  CAMERA  AND  THE  PENCIL. 

in  US  capable  of  reproducing  it  is  called  genius.  Grenius 
is  essentially  tlie  power  of  doing,  of  inventing,  of 
creating." 

Says  Fuseli,  ''  By  genius  I  mean  that  power,  wMch 
enlarges  the  circle  of  human  knowledge ;  which  discovers 
new  materials  of  nature,  or  combines  the  known  with 
novelty ;  while  talent  arranges,  cultivates,  polishes  the 
discoveries  of  genius." 

Says  Cousin,  "  Genius  is  nothing  else  than  taste  in 
action ;  that  is  to  say,  the  three  powers  of  taste  carried 
to  their  culmination,  and  armed  with  a  new  and  myste- 
rious power, — the  power  of  execution. 

''  The  habit  of  contemplating  and  brooding  over  the 
ideas  of  great  geniuses,  till  you  find  yourself  warmed  by 
the  contact,  is  the  true  method  of  forming  an  artist-like 
mind.  It  is  impossible,  in  the  presence  of  those  great 
men,  to  think  or  invent  in  a  mean  manner.  A  state  of 
mind  is  acquired,  that  accepts  those  ideas  only,  which 
relish  of  grandeur  and  simplicity." 

We  will  next  present  a  few  paragraphs  upon  another 
of  the  intellectual  faculties  employed  in  art,  viz. 

2,   IMAGINATION. 

Euskin  remarks,  "  The  imagination  has  three  totally 
distinct  functions : — 

"  1st.  It  combines,  and  by  combination  creates  new 
forms. 

"  2d.  It  treats  or  regards  both  the  simple  images  and 
its  own  combinations  in  peculiar  ways. 

"  3d.  It  penetrates,  analyzes,  and  reaches  truths  dis- 
coverable by  no  other  faculty. 

"  "Whatever  portions  of  a  picture  are  taken  honestly 
and  without  alteration  from  nature  have,  so  far  as  they 
go,  the  look  of  imagination,  because  all  that  nature  does 


AET,  WITH  ITS  INCIDENTS  AND   BELONGINGS.        215 

is  imaginative, — i.  e.,  perfect  as  a  whole,  and  made  up  of 
imperfect  features. 

"Claude  was  almost  wholly  unimaginative,  and  de- 
pended on  a  painful  but  untaught  study  of  nature.  He 
had  much  feeling  for  abstract  beauty  of  form,  though 
none  for  harmony  of  expression. 

"Gaspar  Poussin  had  the  same  want  of  imagination, 
disguised  by  more  masculine  qualities  of  mind  and 
grander  Teachings  after  sympathy. 

"In  Salvator  Rosa  the  imagination  is  vigorous,  and 
the  composition  dexterous  and  clever, — all,  however, 
rendered  valueless  by  coarseness  of  feeling  and  habitual 
non-reference  to  nature. 

"  Nicolo  Poussin  is  always  imaginative  in  landscape  ; 
but  Tintoret  and  Titian  are  unapproachable  in  this 
power. 

"A  sure  test  of  an  imaginative  work  is,  that  it  always 
looks  as  if  it  had  been  gathered  straight  from  nature. 

"Imagination  never  deigns  to  touch  anything  but 
truth ;  and  of  this  we  may  be  assured,  that  where  there 
is  an  appearance  of  falsehood,  the  imagination  has  had 
no  hand. 

"The  virtue  of  the  imagination  is  its  reaching,  by 
intuition  and  intensity  of  gaze,  a  more  essential  truth 
than  is  seen  at  the  surface  of  things. 

"  The  first  and  noblest  use  of  imagination  is  to  enable 
us  to  bring  sensibly  to  our  sight  the  things  which  are 
recorded  as  belonging  to  our  future  state,  or  as  invisibly 
surrounding  us  in  this. 

"Its  second  and  ordinary  use  is  to  empower  us  to 
traverse  the  scenes  of  all  other  history,  and  force  the 
facts  to  become  again  visible,  so  as  to  make  upon  us  the 
same  impression  which  they  would  have  made  if  we  had 
witnessed  them ;  and  in  the  minor  necessities  of  life,  to 


216         THE  CAMERA  AND  THE  PENCIL. 

enable  us,  out  of  any  present  good,  to  gather  the  utmost 
measure  of  enjoyment,  by  investing  it  with  happy 
associations,  and  in  any  present  evil,  to  lighten  it  by 
summoning  back  the  images  of  other  hours  ;  and  also  to 
give  to  all  mental  truths  some  visible  type  in  allegory, 
simile,  or  personification  which  shall  more  deeply  enforce 
them ;  and,  finally,  when  the  mind  is  utterly  outwearied, 
to  refresh  it  with  such  innocent  play  as  shall  be  most 
in  harmony  with  the  suggestive  voices  of  natural  things, 
permitting  it  to  possess  living  companionship  instead  of 
silent  beauty,  and  create  for  itself  fairies  in  the  grass  and 
naiads  in  the  wave." 

Says  Reynolds,  "Those  who  depend  on  a  native  vigor 
of  imagination,  generally  burst  forth  at  once  in  fulness 
of  beauty.  Of  this  Homer,  probably,  and  Shakspeare 
more  assuredly,  are  signal  examples.  M.  Angelo  pos- 
sessed the  poetic  part  of  our  art  in  a  most  eminent 
degree.  We  will  not  say  that  M.  Angelo  was  eminently 
poetic  only  because  he  was  greatly  mechanical ;  but  we 
are  sure  that  mechanic  excellence  invigorated  and 
emboldened  his  mind  to  carry  painting  into  the  regions 
of  poetry,  and  to  emulate  that  art  in  its  most  adven- 
turous flights.  M.  Angelo  possessed  both  qualifications 
equally." 

Says  Ruskin,  "The  play  and  power  of  imagination 
depend  altogether  on  our  being  able  to  forget  ourselves, 
and  enter,  like  possessing  spirits,  into  the  bodies  of 
things  about  us. 

"  The  most  imaginative  men  always  study  the  hardest, 
and  are  the  most  thirsty  for  new  knowledge." 

Says  Haydon,  "If  you  have  genius,  the  whole  will 
flash  upon  that  'inward  eye  which  is  the  bliss  of  soli- 
tude,' with  the  object  you  have  in  view  in  selecting  it; 
the  principal  figure  to  express  it;    the  line  it  makes; 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        217 


the  color  to  convey  the  story  delightfully ;  and  the  light 
and  shadow  to  develop  the  masses  clearly." 

Says  Euskin,  ''The  imagination  sees  the  heart  and 
inner  nature,  and  makes  them  felt ;  but  is  often  obscure, 
mysterious,  and  interrupted  in  its  giving  of  outer  detail." 

3.    INVENTION. 

Under  this  head  we  shall  give  but  a  few  brief  cita- 
tions, and  these  contain  little  more  than  definitions  of 
the  term.     Our  space  will  allow  no  more. 

Fuseli  says,  "To  invent  is  to  Jind;  to  find  something 
presupposes  its  existence  somewhere,  implicitly  or  ex- 
plicitly, scattered  or  in  a  mass. 

"  The  element  and  realm  of  invention  are  form,  in  its 
widest  meaning, — the  visible  imiverse  enveloping  our 
senses, — and  the  invisible  one  that  agitates  our  minds 
with  visions  begotten  by  fancy  on  sense." 

Euskin  says,  "  One  characteristic  of  great  art  is,  that 
it  must  be  inventive, — that  is,  produced  by  the  imagina- 
tion. It  must  not  only  present  grounds  for  noble  emo- 
tion, but  furnish  these  grounds  by  imaginative  power. ^^ 

Eeynolds  says,  "  Invention  is  one  of  the  great  tokens 
of  genius;  but,  if  we  consult  experience,  we  shall  find 
that  we  learn  to  invent  by  being  conversant  with  the 
inventions  of  others,  as,  by  reading  the  thoughts  of 
others,  we  learn  to  think." 

Says  Haydon,  "  If  an  expression  must  be  seen  before 
it  can  be  done,  there  is  an  end  of  invention.  There  is 
an  end,  too,  of  all  the  petty  and  thoughtless  presumption 
of  portrait-painters'  placing  their  art  for  a  moment  on  a 
level  with  high  art. 

"  The  greatest  art  in  practice  is  the  art  of  using  nature 
for  poetical  invention.  This  is  intuitive,  and  cannot  be 
oomnmnicated  by  words  or  deduction.     It  is  visible  in 


218  THE  CAMERA  AND  THE  PENCIL. 

the  very  first  productions  of  a  youth.  It  must  not  be 
too  individual.  It  must  be  like  nature,  and  not  too  much 
like  nature.  It  must  be  nature  restored  to  ber  essential 
properties,  and  nothing  more  or  less." 

Says  Opie,  "  The  study  of  excellent  works  of  every 
class  is  a  certain  way,  to  improve  if  not  to  create  an 
inventive  faculty ;  and  I  have  no  doubt  that  a  person 
comparatively  poor  in  natural  gifts,  who  steadily  pursues 
.  his  purpose ;  examines  engravings  and  paintings ;  reads 
works  on  art ;  and  uses  all  the  means  open  to  him ; 
would  soon  eclipse  the  strongest  in  native  ability,  who 
neglects  the  same  and  trusts  to  himself  alone, — for 
whether  we  will  it  or  no,  nine  hundred  and  ninety-nine  out 
of  a  thousand  of  our  thoughts  are  necessarily  suggested 
by  the  works  of  others." 

4.   PASSION. 

Kuskin  remarks,  "  The  use  and  value  of  passion  are 
not  as  a  subject  of  contemplation  in  itself,  but  as  it  breaks 
up  the  fountains  of  the  '  great  deep'  of  the  human  mind, 
or  displays  its  mightiness  and  ribbed  majesty ;  as  moun- 
tains are  best  seen  in  their  stability  among  the  coil  of 
clouds. 

"In  a  picture,  all  grief  that  convulses  the  features  is 
ignoble,  because  it  is  commonly  shallow,  and  certainly 
temporary,  as  in  children ;  though  in  the  shock  and 
shiver  of  a  strong  man's  features,  under  sudden  and  vio- 
lent grief,  there  may  be  something  of  sublime." 

5.   TASTE. 

Euskin  says,  "Perfect  taste  is  the  faculty  of  receiving 
the  greatest  possible  pleasure  from  those  material  sources 
which  are  attractive  to  our  moral  nature  in  its  purity  and 
perfection.     He  who  receives  little  pleasure  from  these 


AET,  WITH  ITS  INCIDENTS  AND  BELONGINGS,        219 

sources  wants  taste ;  lie  who  receives  pleasure  from  any 
other  sources  has  false  or  bad  taste." 

Barrj  remar.ks,  "The  term  taste,  as  applied  to  objects 
of  vision,  is  a  metaphor  taken  from  our  corporeal  sense 
of  tasting;  and  thus  used,  means  that  quick-discerning 
faculty  or  power  of  mind  by  which  we  accurately  dis- 
tinguish the  good,  bad,  and  indifferent;  the  beauty  or 
deformity  either  in  nature  or  in  the  arts  which  imitate 
nature.  It  is  a  necessary  ingredient  not  only  in  the 
design  of  the  great  artist,  but  also  in  the  judgment  of  an 
intelligent  observer." 

Burke  says,  "  Taste  is  that  faculty  or  faculties  of  the 
mind  which  are  affected  by  or  form  a  judgment  of  the 
works  of  imagination  or  the  elegant  arts." 

Reynolds  says,  "  The  natural  appetite  of  the  human 
mind  is  for  truth.  It  is  the  same  taste  which  relishes  a 
demonstration  in  geometry;  which  is  pleased  with  the 
resemblance  of  a  picture  to  the  original,  and  with  the 
harmony  of  music." 

Upon  this  passage  Haydon  remarks,  "It  is  not  the 
same  taste  which  relishes  a  demonstration  in  geometry ; 
the  harmony  of  music ;  or  the  beauty  of  a  picture ;  but 
a  very  different  taste.  It  may  be  the  same  love  of  truth, 
but  not  the  same  taste ;  because  if  taste  be,  as  assuredly 
it  is,  the  power  of  selecting  the  beautiful  from  the  ugly 
in  nature,  poetry,  painting,  or  music,  the  taste  which 
relishes  a  mathematical  demonstration  is  not  the  faculty 
of  selecting  the  beautiful  from  the  ugly,  but  thetrue  from 
the  false, — a  very  different  power  producing  a  very  dif- 
ferent emotion,  and  referable  at  once  to  an  organization 
of  the  brain  altogether  different." 

Cousin  remarks,  "  Three  faculties  enter  into  that  com- 
plex faculty  called  taste, — imagination,  sentiment,  reason. 


220         THE  CAMEKA  AND  THE  PENCIL. 


Taste  feels,  judges,   discusses,   analyzes,    but   does   not 
invent.     Genius  is  before  all,  inventive  and  creative." 

6.   DRAWING   OR   DESIGN. 

Opie  remarks,  "  Of  the  several  branches  of  painting, 
separately  considered,  design  or  drawing  is,  undoubtedly, 
the  most  important ;  for  on  drawing  not  only  form,  but 
action,  expression,  character,  beauty,  grace,  and  great- 
ness chiefly  depend.  Color  represents  nothing,  and 
lights  and  shadows  have  no  meaning  till  they  are  cir- 
cumscribed by  form.  Drawing,  therefore,  is  evidently 
the  foundation  and  first  element  of  the  art,  without  which 
all  the  others,  ideal  or  practical,  are  not  merely  useless, 
but  nonentities." 

Fuseli  says,  "  By  the  word  design  I  mean  not  what  the 
word  denotes  in  a  general  sense — the  plan  of  a  whole,  but 
what  it  means  in  its  narrowest  and  most  specific  sense — 
the  drawing  of  the  figures  and  component  parts  of  the 
subject.  The  arts  of  design  have  been  so  named  from 
their  nearly  exclusive  power  of  representing /(?rw." 

Barry  says,  "  Titian's  style  of  drawing  is  not  remark- 
able for  any  excellence.  His  forms,  therefore,  though 
well  enough  rendered,  are  generally  imperfect.  He  was 
scientific  and  ideal  only  in  his  coloring. 

"Correggio's  taste  in  drawing  was  very  ideal;  but 
as  his  ideas  were  not  always  well  and  solidly  founded, 
his  truth  of  drawing  is  often  incorrect  and  affected  from 
overmuch  delicacy,  grace,  and  sentiment.  The  Madonna 
and  Magdalen  are  both  exceedingly  beautiful ;  are  both 
remarkable  for  delicacy  and  elegance ;  and  the  beauty, 
grace,  and  interesting  sensibility  of  these  and  other 
female  figures  of  Correggio  strongly  show  how  short 
Eaffaelle  was  of  perfection  in  this  class  of  figures. 

"  When  we  speak  of  the  superior  intelligence  of  design 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        221 


in  the  antique  statues,  we  mean  a  few  only.  The  torso 
of  the  Belvidere  is,  as  to  perfection,  really  unique. 
There  is  nothing  that  can  be  put  into  the  same  class 
with  it.  The  Laocoon,  the  Apollo,  the  Venus,  the  Fight- 
ing Grladiator,  the  Farnese  Hercules,  and  a  few  others 
come  next,  and  can  hardly  be  overrated." 

Annibale  Caracci  says,  "First  make  a  good  outline, 
and  then,  whatever  you  do  in  the  middle,  it  must  be  a 
good  picture. 

"  In  all  the  various  schools  and  academies  that  have 
been  instituted  in  every  country  where  painting  has 
obtained  a  local  habitation,  what  has  invariably  been 
th#ir  object?  Has  it  not  been  design  alone?  If  you 
ask  them  what  the  first  requisite  in  a  painter  is,  will 
.they  not  answer.  Drawing  ?  What  the  second  ?  Draw- 
ing? What  the  third?  Drawing?  They  tell  you,  indeed, 
to  acquire  coloring,  chiaroscuro,  composition,  &c. ;  but 
they  insist  on  your  becoming  draughtsmen. 

"Both  Eaft'aelle  and  M.  Angelo,  great  as  they  were 
in  design,  fell  extremely  short  of  the  ancients, — the 
former  in  elevation,  refinement,  and  precision;  the  latter 
in  variety,  delicacy,  and  discrimination.  M.  Angelo 
undoubtedly  stands  highest,  but  Eaffaelle  is  probably 
the  safer  and  more  eligible  model  for  imitation.  He, 
therefore,  who  wishes  to  be  a  painter  or  a  poet,  must, 
like  Imlac,  enlarge  his  sphere  of  attention,  keep  his  fancy 
ever  on  the  wing,  and  overlook  no  kind  of  knowledge." 

Says  Fuseli,  "Eembrandt  was,  I  think,  a  genius  of 
the  first  order  in  whatever  relates  to  form.  In  spite  of 
the  most  portentous  deformity,  and  without  considering 
the  spell  of  the  chiaroscuro,  such  were  his  powers  of 
nature;  such  the  grandeur,  pathos,  and  simplicity  of 
his  composition,  from  the  most  elevated  or  extensive 
arrangement  to  the  homeliest  and  meanest,  that  the  best 


222  THE  CAMEEA.  AND  THE  PENCIL. 

cultivated  eye,  the  purest  sensibility,  and  the  most 
refined  taste  dwell  upon  them  equally  enthralled.  Shak- 
speare  alone  excepted,  no  one  combined  with  so  much 
transcendent,  so  many  (in  all  other  men)  unpardonable 
faults,  and  reconciled  us  to  them.  He  possessed  the  full 
empire  of  light  and  shade,  and  of  all  the  tints  floating 
between  them ;  he  tinged  his  pencil,  with  equal  success, 
in  the  cool  of  dawn,  in  the  noontide  ray,  in  the  livid 
flash,  in  evanescent  twilight,  and  rendered  darkness 
visible." 

Howard  says,  "  Beauty,  character,  grace  and  grandeur, 
expression,  motion  and  energy,  the  noblest  and  most 
intellectual  qualities  of  the  art,  all  depend  on  drawii^ ; 
which  deserves,  therefore,  to  be  the  determined  aim  of 
the  student's  systematic  and  persevering  application. 
He  must  strenuously  labor  to  render  his  eye  mathemati- 
cally true,  and  his  hand  firm,  prompt,  and  obedient,  that 
he  may  transcribe  with  facility  and  fidelity  all  the 
appearances  of  his  model. 

"No  painter  proves  the  value  of  style^  by  its  absence, 
more  than  Rubens.  To  express,  in  the  outward  form, 
the  internal  workings  of  the  mind  of  man,  is  the  legiti- 
mate and  principal  effort  of  the  painter ;  a  knowledge 
of  the  effects  of  each  on  the  other  should  be  his  constant 
and  especial  aim. 

"Pamphilus  recommended  to  his  scholars  the  study 
of  arithmetic,  and  may  thereby  have  meant  to  inculcate 
the  science  of  proportion.  At  any  rate,  the  Greeks 
must  have  been  thoroughly  aware  of  the  importance  of 
the  latter,  as  their  works  abundantly  show.  The  relative 
proportions  of  the  human  figure,  as  adopted  by  the 
ancients,  have  been  partly  preserved  by  Yitruvius,  and 
seem  to  be  founded  on  geometrical  principles." 

Says  Haydon,  "Poets  are  not  endured  if  their  gram- 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        223 

mar  is  bad,  or  their  language  obscure,  or  their  versifica- 
tion defective ;  and  why  should  drawing,  form,  construc- 
tion, color,  light  and  shadow,  and  surface,  the  grammar 
of  our  art,  on  the  same  principle,  be  excused  more  than 
in  the  poet  ? 

"It  is  to  the  Greeks  we  owe,  as  we  owe  everything  in 
art,  the  geometrical  principles  of  arranging  figures,  or 
parts  taken  as  lines  in  the  way  most  agreeable  to  the 
eye,  and  most  effective  in  telling  a  story  to  the  under- 
standing, without  confusion,  distraction,  or  pain." 

Beechey  says,  "  The  basis  of  all  superior  art  is  ability 
in  drawing  the  human  figure, — in  other  words,  the  know- 
ledge of  its  anatomy.  The  valuable  days  of  Reynolds's 
youth  passed  away  without  his  attaining  this  most 
essential  result  of  youthful  study.  But  when  the  power 
of  design  was  most  essential  to  his  object,  he  acquired  it 
in  an  admirable  degree ;  and  no  painter  ever  drew  the 
head  with  more  taste  and  decision  than  he." 

Haydon  says,  "  Lawrence  drew  better  than  Reynolds ; 
but  Reynolds  was  never  guilty  of  many  ignorances  of 
composition  and  design,  of  which  the  former  was  guilty 
every  day.  In  invention  there  is  no  comparison.  Rey- 
nolds was  a  genius,  and  so  a  genius  in  color ;  whereas, 
Lawrence  had  no  eye,  and  I  remember  but  one  head  by 
him  of  exquisite  color,  that  compares  with  Reynolds's — 
a  head  of  Lord  Bathurst.  Gonsalvi,  and  perhaps  the 
emperor  of  Austria,  may  be  added." 

7.    GRACE. 

Fuseli  says,  "  By  grace  I  mean  that  artless  balance  of 
motion  and  repose  sprung  from  character,  founded  on 
propriety,  which  neither  falls  short  of  the  demands  nor 
overleaps  the  modesty  of  nature.     Applied  to  execution 


224         THE  CAMERA  AND  THE  PENCIL. 


it  means  tliat  dexterous  power  whicli  hides  the  meahs  by 
"which  it  was  attained,  the  difficulties  it  has  conquei'ed." 

"Washington  Allston  remarks,  "It  is  needless  to  saj 
how  I  was  affected  by  Eaffaelle,  the  greatest  master  of 
the  affections  in  our  art.  In  beauty  he  has  often  been 
surpassed,  but  in  grace,  the  native  grace  of  character; 
in  the  expression  of  intellect ;  and,  above  all,  of  sanctity, 
he  has  no  equal.  What  particularly  struck  me  in  his 
works  was  the  genuine  life  that  seemed,  without  impair- 
ing the  distinctive  character,  to  pervade  them  all ;  for 
even  his  humblest  figures  have  a  something  either  in 
look,  air,  or  gesture,  akin  to  the  venustas  {grace)  of  his 
own  nature.  This  power  of  infusing  one's  own  life,  as  it 
were,  into  that  which  is  feigned,  appears  to  me  to  be  the 
prerogative  of  genius  solely." 

Ruskin  says,  •'  On  the  gentleness  and  decision  of  just 
feeling  there  follows  a  grace  of  action,  and  through  con- 
tin  aance  of  this  a  grace  of  form  which  by  no  discipline 
may  be  taught  or  attained." 

8.   EEPOSE. 

Kuskin  says,  "  There  is  probably  no  necessity  more 
imperatively  felt  by  the  artist ;  no  test  more  unfailing 
of  the  greatness  of  artistical  treatment,  than  that  of  the 
appearance  of  repose;  and  yet  there  is  no  quality  whose 
semblance  in  mere  matter  is  more  difficult  to  define  or 
illustrate. 

"As  opposed  to  passion,  changefulness,  or  laborious 
exertion,  repose  is  the  especial  .and  separating  character- 
istic of  the  eternal  mind  and  power ;  it  is  the  '  /  am'  of 
the  Creator  opposed  to  the  '  /  hecome'  of  all  creatures ; 
it  is  the  sign  alike  of  the  supreme  knowledge  which  is 
incapable  of  surprise,  the  supreme  power  which  is  inca- 


AET,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        225 

pable  of  labor,  the  supreme  volition  which  is  incapable 
of  change. 

"  No  work  of  art  can  be  great  without  repose,  and  all 
art  is  great  in  proportion  to  the  appearance  of  it.  It  is 
the  most  unfailing  test  of  beauty,  whether  of  matter  or 
of  motion ;  nothing  can  be  ignoble  that  possesses  it, 
nothing  right  that  has  it  not." 

Michelet  says,  '•'  It  milst  ever  be  borne  in  mind  that, 
however  great  may  be  the  charm  of  variety,  expression, 
and  change  of  movement,  there  is  still  a  deep  desire  in 
the  eye  and  in  the  mind  for  repose.  A  face  always 
changing  in  expression  would  induce  a  feeling  in  the 
spectator  far  less  agreeable  than  even  the  monotony  and 
lifelessness  of  unbroken  repose." 

9.    COMPOSITION. 

Fuseli  says,  "Composition  has  physical  and  moral 
elements, — the  former  are  perspective  and  light  with 
shade, — the  latter  unity,  propriety,  and  perspicuity," 

Kuskin  says,  "  The  essential  characters  of  composition, 
properly  so  called,  are  these.  The  mind,  which  desires 
the  new  feature,  summons  up  before  it  those  images 
which  it  supposes  to  be  of  the  kind  wanted  ;  of  these  it 
takes  the  one  it  supposes  to  be  fittest  and  tries  it ;  if  it 
will  not  answer,  it  tries  another,  until  it  has  obtained 
such  an  association  as  pleases  it." 

Haydon  says,  "  There  are  several  modes  of  arranging 
figures  and  parts,^ — that  is,  of  composing;  as,  for  in- 
stance, 

"  1st.  The  circle,  or  the  ellipsis,  as  in  Ananias. 

"  2d.  The  pyramid  with  two  wings,  as  in  Ely  mas. 

"  3d.  The  large  group  with  one  figure,  as  in  Christ. 

"4th.  The  three  distant  groups,  as  in  the  'Beautiful 
Gate.' 
15 


226  THE  CAMEEA    AND  THE  PENCIL. 

"5th.  The  serpentine  line,  like  that  of  Eubens,  and 
of  many  others,  who  may  occur  to  artists, 

"  It  is  agreeable  to  have  your  lights  diagonally  at  acute 
or  obtuse  angles;  but  never  at  right  angles,  unless  for  a 
specific  purpose.  Thus,  beauty  of  form,  truth  of  ex- 
pression, harmony  of  color,  shape  of  light  and  shadow, 
distinction  but  not  separation  of  groups,  inclinations  of 
lines,  whether  of  figure  or  drapery,  make  up  the  quanti- 
ties of  the  various  parts  which  define  the  whole  of  that 
quantity  called  composition. 

"  The  greatest  poets,  musicians,  painters,  and  sculptors 
have  been  the  greatest  composers.  However  brilliant  their 
imaginations  ;  however  intense  their  capacities  ;  however 
mellifluous  their  language  or  harmonious  their  color ;  it 
was  the  power  of  arranging  their  materials  which  ren- 
dered their  genius  useful  to  their  fellow-creatures. 

"  There  is  one  great  principle  of  composition,  if  not 
the  greatest,  and  this,  I  am  quite  sure,  it  will  require 
very  little  eloquence  to  enforce.  Let  your  color  be 
exquisite ;  let  your  light  and  shadow  be  perfect ;  let  your 
expression  be  touching ;  let  your  forms  be  heroic ;  let 
your  lines  be  the  very  thing,  and  your  subject  be  full 
of  action. 

"  You  will  miss  the  sympathy  of  the  world ;  you  will 
interest  little  the  hearts  of  mankind ;  if  you  do  not  lay  it 
down,  as  irrefutable  law,  that  no  composition  can  be 
complete,  or  will  even  be  interesting,  or  deserving  of 
praise,  that  has  not  a  beautiful  woman,  except  as  a  series. 

"This  was  the  secret  of  Eaffaelle's  and  Correggio's 
magic  over  our  hearts ;  and,  be  assured,  it  is  the  truest, 
the  deepest,  and  the  most  delightful,  and  one  in  which  I 
defy  refutation.  For  it  appeals  to  otir  convictions  at 
once,  that  a  picture  without  a  beautiful  woman  is,  and 
must  be,  in  opposition  to  all  the  sympathies  of  mankind, 


ART,  WITH  ITS  INCIDENTS  AND  BEL0XGIXG3.        227 


— especially  in  an  art,  the  object  of  whicli  is  to  instruct 
by  beauty. 

"  Another  cunning  and  touching  secret  of  Raffaelle's 
and  Correggio's  power  over  us  was,  that,  in  every  face 
of  a  beautiful  woman  painted  by  them,  they  gave  a 
tender  air  of  sympathy  and  love ;  so  that,  in  most  of 
their  women,  if  you  clear  away  all  the  figures,  hut  those 
of  the  women,  you  may,  without  the  least  alteration  of 
look,  put  a  lover  declaring  his  passion  on  his  knee,  and 
you  will  find  the  expression  in  the  woman's  face  do 
exactly. 

"Reynolds's  portraits  are  all  historical  pictures  in  com- 
position ;  all  his  smaller  parts  support  and  carry  off"  his 
larger  qualities.  He  appears  to  have  hit  the  exact 
point,  composed  of  neither  too  many  parts,  nor  too  few ; 
and,  as  models  of  the  degree  of  composition  to  be  admitted 
into  portrait,  are  (in  my  opinion)  finer  examples,  than 
either  the  portraits  of  Titian,  Rubens,  Raffaelle,  Sebas- 
tion  del  Piombo,  or  Vandyke. 

"  The  first  object  in  composition  is  to  please  the  eye. 
Composition  is  the  means  of  conveying  the  story  to  the 
mind.  All  objects,  however  exquisite  individually, 
must  be  sacrificed  to  this.  Raffaelle's  great  excellence 
was  in  expression. 

"  In  composition  Lawrence  was  a  child,  and  Reynolds 
a  great  master.  Reynolds,  from  his  knowledge  of  per- 
spective, always  planted  his  men  upon  their  feet,  while 
Lawrence's  nobility  stood  upon  their  tiptoes,  and  will 
do  so  while  canvas  lasts.  Reynolds  was  the  philosopher 
of  art, — Lawrence  the  gentleman,  with  a  tendency  to 
dandyism." 

Reynolds  says,  "  When  a  young  artist  is  first  told  that 
his  composition  and  his  attitudes  must  be  contrasted ; 
that  he  must  turn  the  head  adversely  to  the  position  of 


228  THE  CAMERA  AND  THE  PENCIL. 

the  body,  in  order  to  produce  grace  and  animation ;  that 
his  outline  must  be  undulating  and  swelling,  to  give 
grandeur ;  that  the  eye  must  be  gratified  with  a  variety 
of  colors,  and  with  light  and  shadow;  when  he  hears 
this,  along  with  such  animating  words  as  spirit,  dignity, 
energy,  grace,  greatness  of  style,  and  brilliancy  of  tints ; 
— he  is  liable  to  push  these  directions  too  far.  He  should, 
therefore,  be  on  his  guard,  reflect,  and  be  governed  by 
calm  judgment  and  correct  taste. 

"  The  Apollo,  the  Venus,  the  Laocoon,  the  Gladiator, 
have  some  recommendation  beside  simplicity.  They 
have  a  certain  composition  of  action, — have  contrasts 
sufficient  to  give  grace  and  energy  in  a  high  degree." 

Burnet  says,  "An  artist  ought  always  to  recollect  that 
he  paints  for  the  higher,  not  for  the  lower  classes  of 
men ;  and  as  his  business  is  to  convey  pleasure,  not  pain, 
a  little  intercourse  with  society  will  convince  him  that 
men  in  all  ranks  have  often  enough  to  vex  them,  or  to 
produce  a  variance  with  their  fellow-creatures,  without 
hanging  up  on  their  walls  representations  tending  to  in- 
crease either  the  one  or  the  other  feeling.  In  the  early 
ages  representations  of  vice  were  necessary,  as  strong 
lessons  of  morality  ;  but  as  mankind  grew  more  enlight- 
ened, they  were  referred  to  hooks,  not  pictures,  for  im- 
provement. 

"  Hervey,  speaking  of  the  stars,  says,  '  On  a  careless 
inspection,  you  perceive  no  accuracy  or  uniformity  in  the 
position  of  the  heavenly  bodies;  they  appear  like  an 
illustrious  chaos,  a  promiscuous  heap  of  shining  globes, 
neither  ranked  in  order  nor  moving  by  line ;  but  what 
seems  confusion  \b  all  regularity ;  what  shows  \\k.Q  negli- 
gence is  really  the  result  of  the  most  masterly  contriv- 
ance.    Ostade's  pictures  call  this  passage  to  my  mind,  so 


AET,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        229 

iaccurately  does  it  describe  the  principles  on  whicli  he 
constructs  his  work." 

10.    COLOR. 

Opie  says,  "  Color,  the  peculiar  object  of  the  most 
delightful  of  our  senses,  is  (in  the  poet's  language)  the 
dje  of  love,  a  hint  of  something  celestial.  The  ruby, 
the  rose,  the  diamond,  the  youthful  blush,  the  orient 
morning,  and  the  variegated  splendor  of  the  setting  sun, 
consist  of,  or  owe  their  charms  principally  to,  color.  To 
the  sight  it  is  the  index  of  gaiety,  richness,  warmth,  and 
animation ;  and  should  the  experienced  artist,  by  design 
alone,  attempt  to  represent  the  tender  freshness  of  spring, 
the  fervid  vivacity  of  summer,  or  the  mellow  abundance 
of  autumn,  what  must  be  his  success  ?  Coloring  is  the 
sunshine  of  the  art,  which  clothes  poverty  with  smiles^ 
and  renders  the  prospect  of  barrenness  itself  agreeable, 
while  it  brightens  the  interest  and  doubles  the  charms 
of  beauty. 

"It  will,  therefore,  be  useful  to  the  artist  to  study  the 
associations  of  color  with  our  ideas  of  character.  White, 
the  symbol  of  innocence,  and  the  tender  tints  of  spring, 
analogous  to  the  opening  of  human  life,  become  the 
proper  decoration  and  accompaniment  of  childhood  and 
youth;  greater  strength  and  vivacity  of  color  suit  riper 
age.  And  thus  advancing  through  every  gradation  and 
depth,  till  we  come  to  black,  '  staid  wisdom's  hue,'  every 
actor  that  enters  on  his  scene ;  the  young,  the  old,  the 
male,  the  female,  the  slave,  the  hero,  the  magistrate,  the 
prince,  the  philosopher  ;  in  short,  all  stages  of  humanity, 
from  the  infant  'mewling  in  the  nurse's  arms,'  to  the 
decrepitude  of  second  childhood,  will  derive  from  the 
freshness,  brilliancy,  harmony,  force,  gravity,  or  sombre- 
ness  of  his  tints  its  characteristic  color  and  shade  of 


230  THE  CAMERA  AND  THE  PENCIL. 

difference,  bofh  in  regard  to  complexion  and  dress,  the 
essence  of  the  accident. 

"  Color  not  only  pleases  by  its  thousand  delicate  hues 
and  harmonious  gradations,  but  serves  in  nature,  and. 
must  be  employed  in  art,  to  characterize  and  distinguish 
the  various  qualities  and  textures  of  different  bodies  and 
surfaces,  as  the  tenderness  and  warmth  of  flesh,  the  hard- 
ness of  stone,  the  polish  of  metals,  the  richness  of  velvet, 
and  the  transparency  of  glass,  in  all  their  varied  positions 
of  light,  shade,  or  reflected  light,  and  of  proximity  to, 
or  distance  from,  the  eye.  Nor  is  its  operation  merely 
physical  and  confined  to  body.  Every  passion  and  affec- 
tion of  the  mind  has  its  appropriate  tint  and  coloring, 
which,  properly  adapted,  lends  a  powerful  aid  in  the 
just  discrimination  and  forcible  expression  of  them;  it 
heightens  joy,  warms  love,  inflames  anger,  deepens  sad- 
ness, and  adds  coldness  to  the  cheek  of  death  itself 

"Like  M.  Angelo  in  design,  Titian  in  coloring  may 
be  regarded  as  the  father  of  modern  art.  He  first  dis- 
covered and  unfolded  all  its  charms ;  saw  the  true  end 
of  imitation ;  showed  what  to  aim  at,  when  to  labor,  and 
where  to  stop ;  and  united  breadth  and  softness  to  the 
proper  degree  of  finishing.  He  first  dared  all  its  depths ; 
contrasted  all  its  oppositions;  and  taught  color  to  glow 
and  palpitate  with  all  the  warmth  and  tenderness  of  real 
:ife." 

Beechey  says,  "A  poetic  imagination,  expression, 
character,  or  even  correctness  of  drawing,  are  rarely 
united  with  that  power  of  coloring  which  would  set  off 
these  excellencies  to  the  best  advantage ;  and  in  this, 
perhaps,  no  school  ever  excelled  the  Dutch." 

Eeynolds  says,  "  The  striking  brilliancy  of  Eubens's 
colors,  and  their  lively  opposition  to  each  other ;  the 
flowing  freedom  of  his  outline  ;  and  the  animated  pencil, 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        231 


with  which  every  object  is  touched,  all  contribute  to 
keep  alive  the  attention  of  the  spectator.  Eubens  was, 
perhaps,  the  greatest  master  in  the  mechanical  part  of 
the  art,  the  best  workman  with  his  tools  that  ever 
wielded  a  pencil.  This  portion  of  the  art,  though  it  does 
not  hold  rank  with  the  powers  of  invention,  or  of  giving 
character  and  expression,  has  in  it  nevertheless  what 
may  be  called  genius." 

Opie  says,  "  The  artist  in  colors  should  invoke  the  aid 
of  background,  chiaroscuro,  and  picturesque  effects, 
while  he  aims  at  action,  meaning,  and  elevated,  life-like, 
truthful  expression." 

Fuseli  says,  "  To  color,  when  its  bland  purity  tinges 
the  face  of  innocence  and  sprouting  life,  or  its  magic 
charm  traces  in  imperceptible  lines  the  forms  of  beauty ; 
when  its  warm  and  ensanguined  vigor  stamps  the  vivid 
principle  that  animates  full-grown  youth  and  the  power- 
ful frame  of  manhood ;  or,  in  paler  gradations,  marks 
animal  life  ;  when  its  varieties  give  truth  with  character 
to  individual  imitation ;  or  its  more  comprehensive  tone 
pervades  the  scenes  of  sublimity  and  expression,  and 
dictates  the  medium  in  which  they  ought  to  move,  in 
order  to  strike  our  eye  in  harmony ; — to  color,  the  florid 
attendant  of  form,  the  master  of  the  passions,  the  herald 
of  energy  and  character,  what  eye,  not  tinged  by  disease 
or  deserted  by  nature,  refuses  homage  ?  The  principles 
of  color,  as  varied,  are  also  as  immutable  as  those  of 
nature 

"  To  no  colorist  before  or  after  Titian  did  nature  un- 
veil herself  with  that  dignified  familiarity  in  which  she 
appeared  to' him.  Omitting  here  all  notice  of  his  other 
transcendent  excellencies,  his  color  only,  considered  as 
a  whole  or  in  subordination,  is  our  object.  Manifold 
as  the  subdivisions  of  character  are, — angelic,  devout, 


232         THE  CAMEEA  AND  THE  PENCIL. 

authoritative,  violent,  brutal,  vigorous,  helpless,  deli- 
cate,— and  various  as  the  tints  of  the  passions  that 
sway  them,  appear, — elevated,  warmed,  inflamed,  de- 
pressed, appalled,  aghast, — thej  are  all  united  by  the 
general  tone  that  diffuses  itself  from  the  interior  repose 
of  the  sanctuary,  smoothens  the  whirlwind,  that  fluctu- 
ates on  the  foreground,  and  gives  an  air  of  temperance 
to  the  whole." 

Eeynolds  says,  "  Coloring  is  true  when  it  is  naturally 
adapted  to  the  eye  from  brightness,  from  softness,  from 
resemblance,  because  they  agree  with  their  great  proto- 
type, nature,  and  therefore  are  true, — as  true  as  mathe- 
matical demonstration,  but  known  to  be  true  to  those  only 
who  study  these  things." 

Burnet  says,  "  Color,  though  holding  the  station  of 
middle  tint,  is,  nevertheless,  more  capable  of  giving  the 
true  representation  of  natural  objects,  than  the  most 
scientific  arrangements  of  chiaroscuro;  and  by  the 
judicious  management  of  it,  a  picture  is  rendered  pleas- 
ing and  attractive. 

"It  appears  that  strong  color  requires  rich,  deep 
shadow  to  support  it  and  render  it  a  portion  of  the  light. 
The  warm,  rich  browns  of  Titian,  Eembrandt,  and 
Correggio  authorize  us  in  this  conduct. 

"  Grandeur  of  effect  is  produced  by  two  different  ways, 
which  seem  entirely  opposed  to  each  other.  One  is,  by 
reducing  the  colors  to  little  more  than  chiaroscuro, 
which  was  often  the  practice  of  the  Bolognian  school ; 
and  the  other,  by  making  the  colors  very  distinct  and 
forcible,  such  as  we  see  in  those  of  Eome  and  Florence; 
but  still  the  presiding  principle  of  both  t^ese  manners 
is  simplicity 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        233 


11.   SYMMETRY. 

Euskin  says,  ''Symmetry  is  the  opposition  of  equal 
quantities  to  each  other;  while  proportion  is  the  con- 
nection of  unequal  quantities  with  each  other. 

"In  all  perfectly  beautiful  objects  there  is  found  the 
opposition  of  one  part  to  another,  and  a  reciprocal 
balance  obtained.  In  animals  the  balance  is  commonly 
between  opposite  sides,  but  in  vegetables  the  opposition 
is  less  distinct,  as  in  the  boughs  on  adverse  sides  of  trees 
and  the  leaves  and  sprays  on  each  side  of  the  boughs." 

Symonds  says,  "  The  pleasure  derived  from  similarity 
enters  largely  into  the  beauty  of  symmetry.  This  side 
is  like  that, — this  curve  corresponds  to  that, — and  it  is 
like  with  a  difference,  the  difference  being  in  place  or 
material.  It  is  similarity  which  constitutes  the  pleasure 
of  witnessing  the  successful  production  of  likeness. 

"Mere  likeness,  without  difference,  becomes  distaste- 
ful sameness  or  dull  uniformity;  just  as  mere  variety, 
without  likeness,  would  be  intolerable. 

"  The  symmetrical  beauty  of  the  human  face  and  head 
is  mainly  dependent  on  the  bony  structures.  The  beauty 
of  expression,  or  the  beauty  belonging  to  variety,  re- 
sults from  the  action  of  the  muscles  in  the  play  of  the 
features." 

12.    LIGHT  AND  SHADOW. 

Quintilian  says,  "Zeuxis,  among  the  Greeks,  disco- 
vered the  principle  of  light  and  shadow."  According  to 
Haydon,  "  The  most  powerful  examples  of  this  principle, 
will  be  found"  in  the  Dutch,  Flemish,  Spanish,  Yenetian, 
and  English  schools. 

"  Light  and  shadow  are  one  thing, — light  and  dark 
another.     Rembrandt  is  the  great  master  of  light  and 


234  THE  CAMERA  AND  TUE  PENCIL. 

shadow.  Here  the  lights  are  the  effect  of  real  lights, 
and  the  shadows  of  real  shadows,  produced  bj  the  direc- 
tion of  the  lights  upon  the  objects.  The  Venetians  are 
the  model  for  light  and  dark — i.  e.,  the  production  of  the 
effect  of  shadows  by  real  dark  colors,  and  lights  by  light 
colors,  though  both  are  in  the  same  light, — indeed  in  one 
mass  of  light  without  any  shadow  at  all.  This  is  a  mag 
nificent  artifice.  The  lights  and  darks  of  a  picture  are 
regulated  just  like  color.  The  subject  should  regulate 
and  be  subservient  always  to  the  nature,  character,  ex 
pression,  and  object  of  the  composition." 

Eeynolds  says,  "Eaphael  never  acquired  that  nicety 
of  taste  in  colors,  that  breadth  of  light  and  shadow,  that 
art  and  management  of  uniting  light  to  light  and  shadow 
to  shadow,  so  as  to  make  the  object  rise  out  of  the 
ground  with  the  plenitude  of  effect  so  much  admired  in 
the  works  of  Correggio. 

"Leonardo  da  Vinci's  conduct  and  management  of 
light  and  shadow  consisted  in  opposing  a  light  ground 
to  the  shadowed  side  of  the  figure,  and  a  dark  ground  to 
the  light  side. 

"  Some  of  our  most  eminent  artists  have,  by  a  precisely 
opposite  procedure,  produced  superior  splendor  and 
effect.  That  is,  they  joined  light  to  light  and  shadow  to 
shadow. 

"  The  favorite  mode  of  giving  objects  relief  and  great 
effect ;  of  representing  a  figure,  as  if  we  could  walk 
around  it ;  affords  to  many  the  highest  species  of  grati- 
fication," 

Opie  says,  "  By  light  and  shadow  all  objects  and  parts 
of  objects  are  made  to  project  or  recede,  to  strike  or 
retire,  to  court,  or  to  shun  the  attention  of  the  spectator, 
agreeably  to  truth  and  propriety.  What,  as  a  drawing, 
was  flat,  tame,  and  monotonous,  by  the  aid  of  this  prin- 


ART,  AVITH  ITS  INCIDENTS  AXD  BELONGINGS.        235 

ciple,  cliiaroscuro,  bursts  forth  at  once  into  roundness 
and  reality  ;  entire  figures  are  detached  from  their  ground, 
seem  surrounded  by  air,  and  spring  forward  to  meet  the 
eye  with  all  the  energy  of  life. 

"  Thus  the  painting  of  a  Venus,  by  an  ancient  artist, 
was  said  to  start  from  the  canvas,  as  if  she  wished  to  be 
pursued.  It  gives  depth,  and  marks  the  various  distances 
of  objects,  one  behind  another;  and  if  drawing  be  the 
giver  of  form,  light  and  shadow  must  be  allowed  to  be 
the  creator  of  body  and  space. 

"In  addition  to  this,  if  properly  managed,  it  con- 
tributes infinitely  to  expression  and  sentiment ;  it  lulls 
by  breadth  and  gentle  gradation,  strikes  by  contrast, 
and  rouses  by  abrupt  transition.  All  that  is  grave, 
impressive,  awful,  mysterious,  sublime,  or  dreadful  in 
nature,  is  closely  connected  with  it.  All  poetic  scenery, 
real  or  imaginary,  of  'forests  and  enchantments  drear,' 
where  more  is  meant,  than  is  expressed ;  all  the  effects 
of  solemn  twilight  and  visionary  obscurity  that  fling 
half  an  image  on  the  aching  sight;  all  the  terrors  of 
storm,  and  horrors  of  conflagration,  are  indebted  to  it 
for  representation  on  canvas.  Antonio  AUegri,  who  was 
at  the  head  of  the  Lombard  school,  was  commonly  styled, 
from  the  place  of  his  birth,  Correggio, 

"  Of  this  extraordinary  man,  who,  in  the  words  of 
Milton, 

"  Untwisted  all  the  strings,  that  tie 
The  hidden  soul  of  harmony  ;" 

we  are  told  by  some,  was  born  and  bred  and  lived  in 
poverty  and  wretchedness,  and  died  at  the  age  of  forty, 
from  the  fatigue  of  carrying  home  a  sack  of  half-pence 
or  copper  money,  paid  him  for  one  of  his  grandest  works. 
He  died  of  a  fever  at  Correggio.  According  to  the  best 
authorities,  however,  he  does  not  appear  to  have  ever 


236  THE  CAMERA  AND  THE  PENCIL, 

been  in  poor  circumstances,  and  the  above  account  is 
probably  a  mere  fable. 

"  Ovid,  speaking  of  Cyllanus,  tbe  fairest  of  tbe  Cen- 
taurs, celebrates  him  as  vying  in  perfection  with  the 
most  admirable  statues : — 

"A  pleasing  vigor  his  fair  face  expressed; — 
His  neck,  his  hands,  his  shoulders,  and  his  breast 
Did  next  in  gracefulness  and  beauty  stand 
To  breathing  figures  of  the  sculptor's  hand." 

Fuseli  says,  "  The  term  chiaroscuro,  adopted  from 
the  Italian,  in  its  primary  and  simplest  sense,  means  the 
division  of  a  single  object  into  light  and  shade ;  and  in 
its  widest  compass  comprises  their  distribution  over  the 
whole  composition.  Whether  the  first  derives  its  splen- 
dor from  being  exposed  to  a  direct  light,  or  is  produced 
by  colors  in  themselves  opaque,  its  exclusive  power  is  to 
give  substance  to  form,  and  place  to  figure,  and  to  create 
space. 

"  Fra  Fillippo  Lippi  was,  perhaps,  the  greatest  master 
of  light  and  shade  anterior  to  Lionardo  da  Yinci ;  but 
he  was  not  so  great  a  master  of  chiaroscuro  as  to  dispute 
the  validity  of  Lionardo's  title  to  being  the  first  who 
completely  developed  its  powers. 

"  The  first  ideas  of  chiaroscuro,  as  of  expression, 
character,  form,  and  color,  originated  in  Tuscany,  with 
Masaccio,  Lionardo  da  Vinci,  Michael  Angelo,  and  Bar- 
tolomeo  della  Porta. 

^^  The  Roman  school,  like  an  oriental  sun,  rose  not 
announced  by  dawn,  and  setting,  left  no  twilight.  Raf- 
faelle  established  his  school  on  the  drama.  Its  scenery, 
expression,  forms,  history,  lyrics,  portrait,  became,  under 
his  hand,  the  organs  of  passion  and  character. 

"  A  certain  national,  though  original,  character  marks 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        237 


the  brightest  epoch  of  the  Venetian  school.  However 
deviating  from  each  other,  Titian,  Tintoretto,  Jacopo  da 
Ponte,  and  Paolo  Veronese,  acknowledge  but  one  ele- 
ment of  imitation,  nature  itself." 

13.   EXPRESSION. 

Fuseli  says,  "Expression  is  the  vivid  image  of  the 
passion  that  affects  the  mind;  its  language  and  the 
portrait  of  its  situation.  It  animates  the  features,  atti- 
tudes, and  gestures  which  invention  has  selected  and 
composition  arranged.  Its  principles,  like  theirs,  are 
simplicity,  propriety,  and  energy.  It  is  important  to 
distinguish  the  materials,  and  the  spirit  of  expression. 
To  give  this,  we  must  be  masters  of  the  forms  and  of 
the  hues  that  embody  it.  Without  truth  of  line,  no 
true  expression  is  possible ;  and  the  passions,  whose 
inwaid  energy  stamped  form  on  feature,  equally  reside, 
fluctuate,  flash,  or  lower  on  it  in  color,  and  give  it  force 
by  light  and  shade.  To  make  a  face  speak  clearly,  and 
with  propriety,  it  must  not  only  be  well  constructed,  but 
have  its  own  exclusive  character.  Though  the  element 
of  the  passions  be  the  same  in-  all,  they  neither  speak  in 
all  with  equal  energy,  nor  are  circumscribed  by  equal 
limits.  Though  joy  be  joy,  and  anger  be  anger,  the  joy 
of  the  sanguine  is  not  that  of  the  phlegmatic,  nor  the 
anger  of  the  melancholy,  that  of  the  fiery  character." 

Beechey  says,  "English  artists,  up  to  Keynolds's  time, 
had  made  portrait  a  mechanical  operation.  They  painted 
the  body  without  reference  to  the  soul  of  the  sitter. 
They  had  to  learn  how  nature  might  be  elevated,  and 
how  to  combine  refined  taste  and  poetic  feeling  (expres- 
sion) with  the  executive  portions  of  the  art." 

Reynolds  says,  "If  I  had  never  seen  any  of  the 
works   of    Correggio,   I   should    never,   perhaps,    have 


238         THE  CAMERA  AND  THE  PENCIL. 

remarked  in  nature  the  expression  wliicli  I  find  in  one 
of  his  pieces;  or  if  I  had  remarked  it,  I  might  have 
thought  it  too  difficult .  or  perhaps  impossible  to  be 
executed. 

"Of  mere  likeness  in  portraiture  Eeynolds  thought 
very  little,  and  used  to  say  that  he  could  instruct  any  hoy 
whom  chance  might  throw  in  his  way  to  paint  a  likeness 
in  a  portrait  in  half  a  year's  time ;  but  to  give  an  im- 
pressive and  just  expression  and  character  to  a  picture, 
or  to  paint  like  Velasquez,  was  another  thing.  "What 
(he  said)  we  are  all  attempting  with  great  labor  to  do,  he 
does  at  once. 

"  Du  Piles  recommends  to  us,  portrait-painters,  to  add 
grace  and  dignity  to  the  characters  of  those  whose  pic- 
tures we  draw.  In  this  he  is  undoubtedly  right.  Per- 
sons of  high  character  and  dignity  should  be  drawn  or 
taken  in  such  an  attitude  that  the  portraits  must  seem  to 
speak  to  us  (express)  themselves, — to  express  their  true 
character,  and  their  most  elevated  condition  and  intelli- 
gent state  of  mind. 

By  Eaffaelle's  happy  correspondence  between  th© 
expression  of  the  countenance  and  the  disposition  of  the 
parts,  his  figures  appear  to  thinJc  from  head  to  foot. 
Men  of  superior  talents  alone  are  capable  of  thus  using 
and  adapting  other  men's  minds  to  their  own  purposes." 

Opie  remarks,  '•'  The  genius  of  Eaffaelle  to  invention 
united  expression,  grace,  and  propriety,  such  as  in  an 
equal  degree  never  before  or  since  fell  to  the  lot  of  one 
man.  However  great  and  various  his  powers,  his  pecu- 
liar strength — that  wherein  he  has  never  been  rivalled 
and  can  never  be  surpassed — was  expression.  To  this  all 
his  efforts  tended ;  for  this  he  invented,  drew,  and  com- 
posed, and  exhausted  nature  in  the  choice  of  his  subjects 
to  display  it.     Every  effect  of  mind  on  matter;  every. 


ART,  WITH  ITS  INClDEiSTS  AND  BELONGINGS.        239 

affection  of  the  soul  as  exhibited  in  the  countenance^ 
from  the  gentlest  emotion  to  the  utmost  fury  and  whirl- 
wind of  contending  passions ;  from  the  demoniac  frenzy 
of  the  possessed  boy  in  the  Transfiguration  to  the  melt- 
ing rapture  of  the  Virgin  Mother  contemplating  her 
Divine  offspring ;  may  be  found  so  faithfully  and  ener- 
getically represented  on  his  canvas  that  we  not  only  see 
but  feel,  and  are,  by  irresistible  sympathy,  made  par- 
ticipants of  his  well-imaged  joys  and  sorrows.  By  this 
he  attracts  every  eye,  warms  every  heart  and  sways  it  to 
the  mood  of  what  he  likes  or  loathes.  This  is  what  has 
made  him,  if  not  the  greatest,  certainly  the  most  interest- 
ing and  the  most  universally  admired  of  all  modern 
painters,  and  rendered  his  name  in  the  general  mouth, 
synonymous  with  perfection. 

"  The  history  of  no  man's  life  affords  a  more  encou- 
raging and  instructive  example  than  that  of  Raffaelle. 
The  path  by  which  he  ascended  to  eminence  is  open  and 
the  steps  visible  to  all.  He  studied  all  the  artists  of  his 
own  and  preceding  times ;  he  penetrated  all  their  mys- 
teries, mastered  all  their  principles,  and  grafted  all  their 
separate  excellencies  on  his  own  stock.  His  genius,  like 
fire,  embraced  and  gathered  strength  from  every  object 
with  which  it  came  in  contact,  and  at  last  burst  forth 
into  a  flame  to  warm,  enlighten,  and  astonish  mankind." 

Cousin  says,  "  Expression  is  addressed  to  the  soul,  as 
form  is  "addressed  to  the  senses.  Form  is  the  obstacle  to 
expression,  and  at  the  same  time  is  its  imperative,  neces- 
sary, only  means.  Art  succeeds,  by  care,  patience,  and 
genius,  in  converting  an  obstacle  into  a  means. 

"Expression  is  essentially  ideal, — what  it  tries  to 
make  felt  is  not  what  the  eye  can  see  and  the  hand 
touch, — evidently  it  is  something  invisible  and  im- 
palpable." 


240         THE  CAMERA  AND  THE  PENCIL. 

•  Haydon  remarks,  "  Lawrence  once  took  a  portrait  of 
Curran,  whose  features  were  mean  and  harsli.  In  tlie 
first  sittings,  he  saw  so  little  of  the  true  man  that  he 
almost  laid  down  his  palette  in  despair  of  making  any- 
thing more  than  a  common  or  vulgar  work.  But  Cur- 
ran, in  discoursing  on  art,  on  poetry,  on  Ireland,  became 
transfigured  to  the  painter's  eye.  '  I  never  saw  you  till 
now"  (said  the  artist), — '  you  have  sat  to  me  in  a  mask, — 
do  give  me  a  sitting  of  Curran,  the  orator !'." 

He  wrote  of  Byron,  as  follows :  "  Lavater's  system 
never  asserted  its  truth  more  forcibly  than  in  Byron's 
countenance,  in  which  you  see  all  the  character  ;  its  keen 
and  rapid  genius,  its  pale  intelligence,  its  profligacy  and 
its  bitterness;  its  original  symmetry  distorted  by  the 
passions;  his  laugh  of  mingled  merriment  and  scorn; 
the  forehead  clear  and  open,  the  brow  boldly  prominent, 
the  eyes  brightly  dissimilar,  the  nose  finely  cut,  and  the 
nostril  acutely  formed ;  the  mouth  well  made,  but  wide 
and  contemptuous  even  in  his  smile,  falling  singularly 
at  the  corners,  and  its  vindictive  and  disdainful  expres- 
sion heightened  by  the  massive  firmness  of  the  chin 
which  springs  at  once  from  the  centre  of  the  full  under 
lip ;  the  hair  dark  and  curling,  but  irregular  in  its 
growth ;  and  the  general  effect  is  heightened  by  a  thin, 
spare  form,  and,  as  you  may  have  heard,  by  a  deformity 
of  limb." 

Allan  Cunningham  says  of  a  portrait  of  M.  Angelo,  by 
Lawrence,  "  With  such  skill  did  he  seize  the  manly 
features  of  the  swarthy  Italian,  and  manage  the  crimson 
velvet,  the  damask,  the  gold,  and  the  marble,  which  he 
lavished  on  the  picture,  that  thousands  are  reported  to 
have  crowded  to  see  it," 

A  person  in  Eome  says,  "It  may  be  cited,  as  the  most 
poetical,  enthusiastic  delineation  of  acute  genius,  without 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        241 


flattery,  that  lias  ever  been  executed.  Its  animation  is- 
beyond  all  praise.  I  heard  Canova  cry  out  when  it  was 
mentioned." 

"  Lawrence"  (says  Haydon)  "  has  been  called  the  second 
Eeynolds, — not  from  being  an  imitator  of  the  style  of 
that  great  master,  but  from  possessing  very  largely  the 
same  singular  power  of  expressing  sentiment  and  feeling, 
and  of  giving  beauty  and  often  dignity  to  his  productions. 
He  was  capable  of  great  exertion,  having  once  painted 
37  hours  without  ceasing!" 

Of  Gilbert  Stuart,  whose /o7'fe  in  portrait-painting  was 
expression,  Dr.  Waterhouse  says,  "In  conversational 
powers  Stuart  was  inferior  to  no  man  among  us.  He 
made  it  a  point  to  keep  his  sitters  talking,  each  in  their 
own  way,  free  and  easy.  This  called  up  all  his  resources 
of  judgment.  To  military  men  he  spoke  of  battles  by  sea 
and  land, — with  the  statesman  on  Hume's  and  Gibbon's 
history ;  with  the  lawyer  on  jurisprudence  or  remarkable 
criminal  trials, — with  the  merchant  in  his  way,  and  with 
the  man  of  leisure  in  his, — with  the  ladies  in  all  ways. 
With  the  farmer  he  could  descant  on  every  point  relating 
to  agriculture ;  upon  cattle,  upon  butter  and  cheese- 
making,  &c.,  &c.  In  sum,  he  could  be,  literally,  'all 
things  to  all  men.' 

''  Stuart"  (says  his  biographer)  •'  read  men's  characters 
as  easily  as  the  newspapers.  Earl  Mulgrave  employed 
him  to  paint  his  brother.  Gen.  Phipps,  who  was  going  to 
India,  On  seeing  the  picture,  the  nobleman  was  much 
disturbed,  exclaiming,  '  This  picture  looks  strange,  sir, — • 
how  is  it  ?     I  see — I  think  I  see  insanity  in  that  face !' 

" '  It  may  be  so,'  (replied  Stuart),  '  but  I  painted  your 
brother  as  I  saw  him.' 

"■  The  first   news  of  the  general  was,  that  insanity, 
never  previously  suspected,  had  driven  him  into  suicide !" 
10 


242         THE  CAMERA  AND  THE  PENCIL. 

Washington  AUston  savs,  "  Stuart  was,  in  the  widest 
sense,  a  philosopher  in  his  art.  He  animated  his  canvas, 
not  with  the  appearances  of  mere  general  life,  but  with 
\\iQ,i  peculiar  distinctive  life  which  separates  the  individual 
from  his  kind.  He  seemed  to  dive  into  men's  thoughts, 
for  these  were  made  to  rise  and  speak  on  the  sarface." 

"  Henrj  Inman's  frank  and  winning  address,"  (says  his 
biographer)  "  united  to  rare  conversational  powers,  always 
gave  him  an  advantage  with  sitters,  which  he  used  with 
happiest  effect.  He  seldom  failed  to  beguile  them,  by 
his  talk,  of  the  consciousness  that  they  were  sitting  for 
a  portrait,  when  he  would  seize  upon  the  most  natural 
and  characteristic  expression  of  countenance,  from  which 
he  had  thus  banished  the  formality  and  constraint,  which 
so  few,  in  such  a  position,  can  lay  aside  by  any  effort 
of  their  own. 

"  Inman  excelled  in  getting  a  good  expression  for  his 
sitters,  however  ugly  or  stupid  the  latter  might  be.  '  This' 
(Lawrence  said)  'the  painter  might  and  should  get, — 
else  the  fault  was  in  himself.'  Inman  rarely  failed  of 
obtaining  a  likeness,  and  yet  his  portraits  almost  always 
looked  better  than  the  originals." 

"John  Trumbull"  (says  his  biographer)  "was  com- 
missioned to  paint  a  portrait  of  Washington,  for  the 
City  of  Charleston,  S.  C.  For  the  period,  T.  selected 
the  evening  before  the  battle  of  Princeton,  T.  says, 
'I  told  Washington  m}'-  object ;  he  entered  warmly 
into  it ;  and  as  the  work  advanced,  we  talked  of  the 
scene,  its  dangers,  its  almost  desperation.  He  looTied%h.e 
scene ;  and  I  happily  transferred  to  the  canvas  the  lofty 
expression  of  his  animated  countenance,  the  high  resolve 
to  conquer  or  to  perish.  The  result  was,  in  my  opinion, 
eminently  successful,  and  Washington  was  satisfied.'  " 

Sir  Charles  Bell  says,  "  Expression  is  to  passion  what 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        243 

language  is  to  thought.  It  is  also  curious  that  expression 
appears  to  precede  the  intellectual  operations. 

"  The  expression  of  emotion  may  be  introduced  even 
into  the  highest  works  of  art ;  but  it  requires  great  taste 
to  portray  it  without  offensive  exaggeration. 

"  That  posture  of  the  body  is  most  expressive  when  it 
seems  arrested  in  some  familiar  action. 

"  The  expression  of  laughter  is  pure  in  the  highest 
degree,  indicating  unalloyed  pleasure,  and  will  relax,  by 
sympathy,  even  the  stubborn  features  of  a  stranger. 

"  In  the  animated  human  countenance,  we  see  the  eyes 
full,  clear,  piercing,  full  of  fire, — appearances  indicating 
feeling,  thought,  mind. 

''  Model  the  lips  for  the  expression  of  eloquence  and 
of  the  softer  passions,  and  the  mouth  becomes  beautiful. 

"Expression  is  of  more  consequence  than  shape, — it 
will  light  up  features  otherwise  heavy ;  it  will  make  us 
forget  all  save  the  qualities  of  the  mind. 

"  On  a  lady's  face  we  like  at  least  to  see  the  loveliness 
that  lurks  in  expression.  M.  Angelo,  in  addition  to  all 
his  other  endowments,  was  a  master  of  expression. 

"Every  artist  should  study  the  peculiarities  of  the 
faces  of  his  sitters,  for  thus  he  learns  to  observe  nature; 
to  behold,  in  their  minute  varieties,  forms  which  would 
otherwise  pass  unnoticed ;  to  catch  expressions  so  evan- 
escent, that  they  must  escape  him,  unless  he  is  ever  on 
the  alert  to  call,  by  the  excitement  of  conversation,  into 
the  sitter's  face  the  highest  intellectual  expression  of 
which  it  is  capable. 

"The  angles  of  the  mouth  are  full  of  expression. 
The  lips,  being  the  most  mobile  of  all  the  features,  are 
the  most  direct  index  of  the  feelings. 

"There  is  expression  in  the  grasp  and  shake  of  the 
hand  in  saluting, — in  some,  this  act  being  chilling  and 


244  THE  CAMERA  AND  THE  PENCIL. 

depressing,  while  in  others  it  is  warm,  heart-kindling, 
soul-gladdening." 

Sir  Charles  Bell  says,  ''If  it  be  allowable  to  give  ex- 
amples, I  would  say  that,  in  the  countenance  of  Mrs. 
Siddons,  or  of  John  Kemble,  was  presented  the  highest 
character  of  beauty  belonging  to  the  true  English  face. 
In  that  family  the  upper  lip  and  nostrils  are  very  ex- 
pressive; the  class  of  muscles  which  operate  on  the 
nostrils  was  especially  powerful ;  and  both  these  great 
tragedians  had  a  remarkable  capacity  for  the  expression 
of  the  nobler  passions.  In  their  cast  of  features  there 
was  never  seen  that  blood-thirsty  look  which  Cooke 
could  throw  into  his  face. 

"  It  is  also  said  that  we  are  taught  by  experience  alone 
to  distinguish  the  signs  of  the  passions  in  man ;  that  in 
infancy  we  learn  that  smiles  are  expressive  of  kindness, 
because  accompanied  by  endearments,  and  that  frowns 
are  the  reverse,  because  they  are  sometimes  followed  by 
blows. 

"  We  have  already  remarked  that  expressions  pecu- 
liarly human  chiefly  affect  the  angle  of  the  mouth  and 
the  inner  extremity  of  the  eyebrow ;  and  to  these  points 
we  must  principally  attend  in  all  our  observations  con- 
cerning the  expression  of  passion.  They  are  the  most 
movable  parts  of  the  face ;  in  them  the  muscles  con- 
centre ;  and  upon  the  changes  they  undergo,  expression 
is  acknowledged  chiefly  to  depend.  By  elevating  or 
depressing  the  angles  of  the  mouth  and  inner  extremities 
of  the  brow,  we  can  readily  convey  the  expression  of 
grief  or  laughter. 

"  When  the  angles  of  the  mouth  are  depressed,  as  in 
grief,  the  eyebrows  are  not  elevated  at  the  outer  angles, 
as  in  laughter. 

"When   a   smile   plays   around   the  mouth,   or   the 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        245 

cheek  is  raised,  as  in  laughter,  the  brows  are  not  ruffled, 
as  in  grief." 

Haydon  says,  "  Of  Raffaelle's  expression  the  basis  is 
common  sense,  and  Titian's  color  is  equally  founded  on 
common  sense, 

*■'  Aristides  and  Timanthes  were  as  fine  in  expression 
as  Eaffaelle.  Aristides  painted  a  beautiful  mother  dying 
of  the  plague,  and  with  her  last  effort  pushing  the  dear, 
smiling  baby  from  her  infected  nipple;  Timanthes,  the 
sacrifice  of  Iphigenia  at  Aulis ;  and  with  the  greatest 
skill  concealed  the  father's  face  to  excite  greater  sensi- 
bility to  his  agonies. 

"Susceptibility  to  the  expression  of  the  passions,  or 
the  beauty  of  color,  can  never  be  taught,  even  though 
your  instructor  were  an  angel  from  heaven.  You  can 
teach  to  draw  and  compose  pretty  fairly ;  but  to  invent 
and  to  color,  if  by  nature  you  are  deficient  in  imagina- 
tion and  eye,  no  instruction  on  earth  can  give  you. 

"In  the  expression  of  dignity  in  portrait  no  heads 
exceed  Eeynolds's,  though  Titian's  and  Vandyke's  are 
more  delicate  in  execution.  He  was  a  great  man,  but 
certainly  a  superficial  thinker ;  and  yet,  considering  his 
incessant  practice  in  individual  resemblance,  it  is  extra- 
ordinary that  he  wrote  as  he  did. 

"  There  were  never  two  men  so  totally  opposite  in  art 
as  Eeynolds  and  Lawrence,  and  great  instruction  may 
certainly  be  attained  by  a  comparison. 

"Lawrence  got  his  expression  and  likeness  by  an 
intense  perception  of  the  individual  parts  and  keen  dis- 
cernment of  the  best  look  of  the  sitter,  and  I  believe  no 
one  ever  surpassed  him  in  catching  the  best  expression 
of  the  face, — Reynolds  got  the  same  by  a  masculine 
comprehension  of  the  masses.     Reynolds's  men  had  all 


246         THE  CAMEEA  AND  THE  PENCIL. 

the  air  of  rank  without  being  dandies, — Lawrence's  were 
all  dandies  without  being  men  of  i-ank. 

"Such  were  the  gentleness,  the  sweetness,  the  chas- 
tity, the  beauty,  and  bewitching  modesty  of  Eeynolds's 
women,  that  you  would  have  feared  even  to  approach 
them, — while  you  feel  quite  sure  you  might  compliment 
Lawrence's  women  without  much  fear  of  offending. 

"Lawrence's  great  power  was  seeing,  transferring,  and 
identifying  the  happiest  expression  of  the  sitter ;  and  no 
man  can  testify  to  his  power  better  than  myself.  I  had 
under  my  own  eye  several  of  the  nobility  he  had  painted. 
For  the  first  half  hour  I  saw  no  resemblance. '  At  last 
some  lucky  remark  lighted  up  their  features,  and  in  these 
few  moments  I  witnessed  Lawrence's  choice." 

Cousin  says,  "  The  great  law  which  governs  all  others 
is  expression.  Every  work  of  art,  which  does  not  ex- 
press an  idea,  signifies  nothing.  In  addressing  to  one  or 
another  sense,  it  must  penetrate  to  the  mind,  to  the  soul, 
and  bear  thither  a  sentiment  or  thought  capable  of  touch- 
ing or  elevating  it.  From  this  fundamental  rule  all 
others  are  derived." 

Haydon  says,  "'  Stothard  could  not  tell  a  story  by  ex- 
pression ;  yet  there  was  an  angelic  sweetness  in  every- 
thing he  did.  He  seemed  to  have  dreamed  of  an  angel's 
face  in  early  life,  and  to  have  passed  the  remainder  of 
his  days  in  trying  to  combine  in  every  figure  he  touched 
something  of  its  sweetness." 

14.    POETRAIT. 

Howard  says,  "The  coarsest  portrait  of  a  valued 
friend  may  give  us  more  real  pleasure  than  the  finest 
picture  of  a  stranger  by  Vandyke  himself.  Our  per- 
sonal affections  and  ties  will  always  bid  defiance  to  any 
rivalry  from  art ;  but  works  of  fiction  do  not  pretend  to 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        247 


vie  witli  realities;  their  aim  is  to  give  an  agreeable 
stimulus  to  our  imaginations  or  affections  by  reproducing 
to  our  notice  whatever  is  permanently  grand,  beautiftil, 
emphatic,  or  expressive  in  our  observations  and  concep- 
tions of  nature  wherever  found." 

Haydon  says,  "Do  you  suppose  I  undervalue  por- 
trait,— that  delightful  art  which  brings  down  to  us 
the  beautiful  and  intellectual,  the  hero  and  the  sage  of 
past  ages,  and  carries  onward  the  resemblance  of  those 
equally  celebrated  now  for  the  admiration  of  ages  that 
approach  ?  How  often  have  I  studied  Vandyke's  and 
Eeynolds's  portraits  with  delight,  enthusiasm,  and 
profit !" 

Opie  says,  "It  has  been  my  aim,  in  my  little  work,  to 
treat  chiefly  of  portrait  Not  that  characteristic  por- 
trait by  which  Silanion,  in  the  face  of  Apollodorus,  per- 
sonified habitual  indignation, — Apelles,  in  Alexander, 
superhuman  ambition, — Raffaelle,  in  Julius  IL,  pontifical 
fierceness, — Titian,  in  Paul  III.,  testy  age  with  priestly 
subtlety, — and  in  Cassar  Borgia  and  Machiavelli,  the  wily 
features  of  conspiracy  and  treason.  Not  that  portrait 
by  which  Eubens  contrasted  the  physiognomy  of  philo- 
sophic and  classic  acuteness  with  that  of  genius,  in  the 
conversation-piece  of  Grotius,  Mauritius,  Lipsius,  and 
himself  Not  the  nice  and  delicate  discriminations  of 
Vandyke ;  nor  that  power  which,  in  our  day,  substanti- 
ated humor  in  Sterne,  comedy  in  Garrick,  and  mental 
and  corporeal  strife  (to  use  his  own  words)  in  Samuel 
Johnson.  On  that  broad  basis  portrait  takes  its  exalted 
place  between  history  and  the  drama. 

"The  portrait  I  mean  is  that  common  one  as  widely 
spread  as  confined  in  its  principle, — mere  human  resem- 
blance. The  artist's  aim  and  the  sitter's  wish  are  mostly 
confined  to  external  likeness. 


248  THE  CAMERA  AND  THE  PENCIL. 

"Since  liberty  and  commerce  liave  more  levelled 
social  ranks,  and  more  equally  diffused  opulence,  private 
importance  has  increased,  and  family  connections  and 
attachments  liave  been  more  numerously  forced.  Hence 
portrait-painting,  which  formerly  was  the  exclusive  pro- 
perty of  princes,  or  a  tribute  to  beauty,  prowess,  genius, 
talent,  and  distinguished  character,  is  now  become  a  kind 
of  family  calendar,  engrossed  by  the  mutual  charities 
of  parents,  children,  brothers,  nephews,  cousins,  and 
relatives  of  all  degrees." 

Haydon  says,  "There  is  something  in  the  thorough- 
bred, regularly  drilled  portrait-painter,  which  no  imagi- 
native painter  ever  got,  or  ever  will  get. 

"  It  is  curious  that  portrait-painters,  when  they  paint 
high  art,  are  always  too  individual  for  even  a  likeness ; 
and  when  the  historical  painter  paints  a  portrait,  he  is 
more  individual  than  the  portrait-painter.  The  portrait- 
painter  selects  the  best  of  what  he  sees,  but  still  keeps 
the  likeness.  The  historic  painter  selects  the  best  of 
what  he  sees,  to  realize  what  he  imagines.  The  painter 
of  high  art  makes  a  portrait  of  what  he  imagines,  by  the 
help  of  his  model,  without  retaining  an  atom  of  likeness ; 
the  portrait-painter  of  what  he  sees.  Thus,  when  a 
portrait-painter  comes  to  high  art,  he  cannot  help  making 
a  portrait  of  his  model ;  and  when  the  historical  painter 
comes  to  portrait,  he  cannot  idealize  without  losing  like- 
ness. 

"  Though  Fuseli  had  more  of  imagination  and  con- 
ception than  Eeynolds ;  though  West  put  things  together 
quicker  than  either ;  though  Plaxman  and  Stothard  did 
what  Reynolds  could  not  do ;  and  Hogarth  invented  a 
style  never  before  thought  of  in  the  world ;  yet  Reynolds 
is  undeniably  the  greatest  artist  of  the  British  school, 
and  the  first   artist   in   Europe   since   Rembrandt  and 


ART,  WITH  ITS  IlfCIDENTS  AND  BELONGINGS.        249 

Velasquez.  It  is  impossible  for  any  one  to  look  at  a 
portrait  by  bim,  witbout  instruction,  benefit,  and  deligbt." 

Says  Nortbcote,  "It  is  in  painting,  as  in  life, — wbat  is 
greatest  is  not  always  best.  I  sbould  grieve  to  see  Rey- 
nolds transfer  to  beroes  and  goddesses,  to  empty  splendor 
and  airy  fiction,  tbat  art  wbicb  is  now  employed  in  diffu- 
sing friendsbip,  in  renewing  tenderness,  in  quickening 
tbe  affections  of  tbe  absent,  and  continuing  the  presence 
of  tbe  dead. 

"As  every  man  is  always  present  to  bimself,  be  bas, 
therefore,  little  need  of  bis  own  resemblance ;  nor  can 
be  desire  it  but  for  tbe  sake  of  tbose  be  loves,  and  by 
wbom  be  bopes  to  be  remembered.  Tbis  use  of  tbe  art 
is  a  natural  and  reasonable  consequence  of  affection ; 
and  tbougb,  like  otber  buman  actions,  it  is  often  com- 
plicated witb  pride,  yet  even  sucb  pride  is  more  laudable 
tban  tbat  by  wbicb  palaces  are  covered  witb  pictures 
wbicb,  however  excellent,  neither  imply  nor  excite  the 
virtue  of  the  owner." 

Reynolds  says,  "When  a  portrait  is  painted  in  the 
historic  style,  as  it  is  neither  an  exact,  minute  representa- 
tion of  an  individual,  nor  completely  ideal,  every  circum- 
stance ought  to  correspond  to  tbis  mixture.  Small 
excellencies  sbould  be  viewed,  not  studied, — they  ought 
to  be  viewed,  because  nothing  should  escape  a  painter's 
observation." 

Haydon  says,  "  The  proportion  and  shape  of  the  bones 
are  visible  in  the  head,  joints,  hands,  feet,  and  shoulders ; 
the  bones  are  moved  by  the  muscles,  influenced  by  the 
will,  excited  by  an  idea  or  an  intention  of  the  brain, — 
how,  tbe  profoundest  anatomists  are  not  wiser  than  we 
are. 

"  Tbe  interesting  muscles  of  the  face  and  head  are  the 
hidden  causes  of  the  expression  of  tbe  passions  by 
feature." 


250  THE  CAMEEA  AND  THE  PENCIL. 

15.   SCULPTUEE. 

Agesander  says,  "  Sculpture  is  an  art  of  much  more 
simplicity  and  uniformity  than  painting.  It  cannot,  with 
propriety  and  the  best  effect,  be  applied  to  many  subjects. 
The  objects  of  its  pursuit  may  be  comprised  in  two 
words,  form  and  character;  and  these  qualities  are 
presented  to  us  in  but  one  manner  or  style.  Imitation 
is  the  means,  and  not  the  end,  of  art.  It  is  employed  by 
the  sculptor  as  the  language  whereby  his  ideas  are 
presented  to  the  mind  of  the  spectator. 

"  Thus  from  the  character  and  posture  of  the  figure, 
Apollo,  he  is  supposed  to  have  just  discharged  his  arrow 
at  the  great  serpent,  Python ;  and  by  the  head  retreating 
a  little  towards  the  right  shoulder,  he  appears  attentive 
to  its  effect.  What  we  would  remark  is  the  difference 
of  this  attention  from  that  of  the  Discobolus,  who  is 
occupied  with  a  kindred  purpose,  watching  the  effect  of 
his  discus,  or  quoit.  The  graceful,  negligent,  though 
animated  air  of  the  one,  and  the  vulgar  eagerness  of  the 
other,  furnish  a  singular  instance  of  the  judgment  of  the 
ancient  sculptors  in  their  nice  discrimination  of  character. 
They  are  both  equally  true  to  nature,  and  are  alike 
admirable.  We  may  remark,  that  gTace,  character,  and 
expression,  though  words  of  different  import,  and  so 
understood,  when  applied  to  paintings,  are  used  indis- 
criminately, when  we  speak  of  sculpture.  These  quali- 
ties are  exhibited  in  sculpture  rather  by  form  and 
attitude,  than  by  the  features  solely,  and  therefore  can 
be  expressed  in  but  a  very  general  manner. 

"  Though  the  Laocoon  and  his  two  sons  have  more 
expression  in  the  countenance,  than  perhaps  any  other 
antique  statue,  yet  it  is  only  the  general  expression  of 
pain;  and  this  passion  is  still  more  forcibly  expressed. 


ART,  WITH  ITS  INCIDENTS  AND  BELONGINGS.        251 

bv  the  "writliing  aud  contortions  of  the  body,  than  by  the 
features." 

Barry  says,  "  Socrates  was  himself  a  sculptor  by  edu- 
cation. A  Mercury  and  a  draped  marble  group  of  the 
Graces  by  him  are  noticed  by  Pausanias,  as  standing  in 
the  Propylaea,  leading  to  the  Acropolis  at  Athens." 

Agesander,  the  sculptor,  says,  "  The  figure  of  Laocoon 
is  a  class.  It  characterizes  every  beauty  of  virility 
verging  on  age.  The  prince,  the  priest,  the  father  are 
visible ;  but  absorbed  in  the  man,  they  serve  only  to 
dignify  the  victim  of  one  great  expression." 

Haydon  says,  '•  At  my  first  entrance  among  the  Elgin 
Marbles  the  first  thing  I  saw  was  the  wrist  of  the  right 
hand  and  arm  of  one  of  the  Fates  leaning  on  her  thigh, 
which,  mutilated  as  it  was,  proved  that  the  great  sculptor 
had  kept  the  shape  of  the  radius  of  the  ulna,  as  always 
seen  in  fine  nature  male  and  female. 

"I  felt  at  once,  before  turning  my  eyes,  that  there  were 
the  nature  and  ideal  beauty  joined,  which  I  had  gone 
about  the  art,  longing  for  and  never  findipg.  I  saw  at 
once  I  was  among  productions,  such  as  I  had  never 
before  witnessed  in  the  art ;  and  that  the  great  author 
merited  the  enthusiasm  of  antiquity,  of  Socrates  and 
Plato,  of  Aristotle,  Juvenal  and  Cicero,  of  Yalerius 
Maximus,  Plutarch  and  Martial. 

"  If  such  were  my  convictions  on  seeing  this  dilapi- 
dated but  immortal  wrist,  what  think  you  they  were  on 
turning  round  to  the  Theseus,  the  horse's  head,  and  the 
fighting  Metope,  the  Frieze,  the  Jupiter's  breast  ? 

"  I  saw  that  union  of  nature  and  ideal  perfected  in 
high  art,  and  before  this  period  pronounced  impossible. 
I  bowed  to  the  immortal  spirit  that  still  hovered  near 
them, 

"  M.  Angelo  was  a  tremendous  genius  and  a  grand 


252         THE  CAMERA  AND  THE  PENCIL. 

moral  being,  with  a  vast  power  of  intellect.  His  effect 
on  the  art  was  vital;  but  he  did  not  allow,  like  the 
Greeks,  the  "unalterable  principles  of  life  to  keep  in  check 
his  anatomical  knowledge  of  the  human  figure.  He 
often  overstepped  the  modesty  of  truth,  and  gave  a 
swaggering  air ;  every  figure  of  his  looks  as  if  he  was  in- 
sulted, and  was  preparing  to  return  a  blow;  if  they  sleep, 
they  seem  as  if  they  would  kick.  His  art  is  a  perpetual 
effort;  his  figures  always  seem  irritated  and  in  a  passion. 

"In  poetry  of  sentiment  the  Medici  Tombs  would, 
perhaps,  have  competed  with  Phidias ;  for  M.  Angelo, 
being  a  painter  as  well  as  Phidias,  combined  in  his 
sculpture  a  knowledge  of  effect.  But  in  the  naked 
figures,  both  at  the  Tombs  and  in  the  Sistiiie  Chapel,  he 
must  yield  to  Phidias. 

"But  why  is  Phidias  superior  to  M.  Angelo  in  the 
naked  ?  Because  his  most  abstract  and  heroic  figures 
were  based  on  common  sense." 

Washington  Allston  says,  "  Of  M.  Angelo  I  know  not 
how  to  speak  in  adequate  terms  of  reverence.  With  all 
his  faults,  even  Eaffaelle  bows  before  him.  As  I  stood 
beneath  his  colossal  prophets  and  sibyls, — still  more 
colossal  in  spirit, — I  felt  as  if  in  the  presence  of  mes- 
sengers from  the  other  world,  with  the  destiny  of  man  in 
their  breath, — even  in  repose  terrible !" 

Yasari  gives  a  long  list  of  painters  and  sculptors  who 
formed  their  taste  and  learned  their  art  by  studying  his 
works.  Among  these  he  names  M.  Angelo,  L.  da  Yinci, 
Pietro  Perugino,  Eaffaelle,  Bartolomeo,  Andrea  del 
Sarto,  II  Kosso,  and  Pierino  del  Yaga. 

Euskin  says,  "  The  chisel  of  Mino  da  Fiesole  leaves 
many  a  hard  edge,  and  despises  down  and  dimple ;  but  it 
seems  to  cut  light  and  carve  breath,  the  marble  burns 
beneath  it,  and  becomes  transparent  with  very  spirit." 


CHAPTER  XXV. 

MISCELLANEOUS  REMAEKS  FROM  VARIOUS  AUTHORS. 

Sexes,  how  distinguished ;  Barry,  Opie,  Fuseli,  Apelles — Analysis  of  Da  Vin- 
ci's Last  Supper :  Howard,  Ruskin,  Lawrence,  Burke,  Cuvier,  Dryden,  Mrs. 
Siddons,  Reynolds. 

Barry  says,  "  There  is  a  general  character  distinguish- 
able in  the  sexes  as  contrasted  with  each  other.  The 
whole  and  every  part  of  the  male  form,  taken  generally, 
indicates  an  aptness  and  propensity  to  action,  vigorous 
exertion,  and  power. 

"  In  the  female  form  the  appearance  is  very  different. 
It  gives  the  idea  of  something  rather  passive  than  active, 
and  seems  created  not  so  much  for  the  purposes  of  labo- 
rious utility,  as  for  the  exercise  of  all  the  softer,  milder 
qualities." 

Opie  remarks,  "Lionardo  da  Yinci  was  considered, 
in  his  time,  one  of  the  first  luminaries  of  modern  art, 
and  one  of  the  most  extraordinary  of  men.  If  it  be 
true  that  'one  science  only  will  one  genius  fit,'  what 
shall  we  say  of  the  man  who,  master  of  all  mental  and 
all  bodily  perfections,  excelled  equally  in  painting, 
sculpture,  poetry,  architecture,  chemistry,  anatomy, 
mathematics,  and  philosophy ;  who  renders  credible  all 
that  has  been  related  of  the  'admirable  Crichton,'  who 
attempted  everything  and  succeeded  in  every  attempt ; . 
who,  sailing  round  the  world  of  art,  touched  at  every 
port  and  brought  home  something  of  value  from  each  ? 

(253) 


254  THE  CAMERA  ANP  THE  PENCIL. 

This  was  Lionardo's  glory.  His  genius  gave  the  death- 
blow to  flatness  and  insipidity  by  the  invention  of  that 
deep  tone  of  color,  strength  of  shadow,  and  bold  relievo 
which,  afterwards  carried  to  perfection,  enchant  us  in  the 
dreams  of  Oorreggio,  and  electrify  us  in  the  mysterious 
visions  of  Eembrandt." 

Fuseli  says,  "  The  name  of  Apelles,  in  Pliny,  is  the 
synonym  of  unrivalled  and  unattainable  excellence.  He 
knew  better  what  he  could  do,  what  ought  to  be  done, 
at  what  point  he  should  arrive,  and  what  lay  beyond  his 
reach,  than  any  other  artist,  Grace  of  conception  and 
refinement  of  taste  were  his  elements,  and  went  hand  in 
hand  with  grace  of  execution  and  taste  in  finish.  The 
acuteness  and  fidelity  of  eye  and  obedience  of  hand,  pos- 
sessed by  him,  form  precision ;  precision,  proportion ; 
proportion,  beauty ;  that  is,  the  little  more  or  less,  im- 
perceptible to  vulgar  eyes,  which  constitutes  grace,  and 
establishes  the  superiority  of  one  artist  to  another, 

"  Such  were  the  principles  on  which  Apelles  formed  his 
"Venus,  or  rather  the  personification  of  female  grace ;  the 
wonder  of  art  and  the  despair  of  artists ;  whose  outline 
bafQed  every  attempt  at  emendation,  while  imitation 
shrank  from  the  purity,  the  force,  the  brilliancy,  the 
evanascent  gradations  of  her  tints," 

Howard  says,  "  Those  works  which,  for  ages,  have 
maintained  their  reputation  as  chefs  d'oeuvres,  must  be 
held  to  have  supplied  a  large  amount  of  real  instruction 
in  art ;  and  the  artist,  in  the  beginning  of  his  career, 
will  act  far  more  wisely  in  adopting  the  most  approved 
rules,  than  in  attempting  to  form  them  directly  from 
nature ;  for,  unless  he  avails  himself  of  the  science  of  his 
predecessors,  he  can  have  slight  chance  of  advancing  far 
in  his  art. 

"A   sketch-book    should   be  the   artist's   inseparable 


EEMAEKS  FROM  VARIOUS  AUTHORS.  255 

companion,  in  whicli  lie  may  note  down,  on  the  spot, 
every  interesting  group,  figure,  action,  fall  of  drapery, 
or  other  characteristic  circumstance  which  may  interest 
his  fancy,  in  his  daily  haunts.  This  practice  will  in- 
crease his  facility  in  drawing,  and  gradually  supply  him 
with  stores  of  incomparable  value.  This  was  the  habit 
of  Da  Yinci  and  M.  Angelo,  of  Flaxman  and  Stothard; 
and  it  has,  doubless,  led  to  some  of  their  most  exquisite 
inventions  and  compositions.  The  beautiful  groups  of 
the  Sistine  Chapel ;  the  attitudes  of  the  prophets  and 
sibyls  in  the  same  place ;  and  manj^  of  the  figures  in  the 
'Last  Judgment,' are  probably ' taken  immediately  from 
nature. 

"No  man  has  hitherto  been  master  of  all  the  parts  of 
painting  in  an  equal  degree  of  perfection.  M.  Angelo 
excelled  in  composition  and  drawing,  but  not  in  color. 
Eaffaelle  was  distinguished  for  expression  and  grace ; 
but  had  neither  the  greatness  of  style  of  his  rival,  nor 
the  sweetness  and  unction  of  Correggio;  v>^hile  Titian, 
a  perfect  colorist,  was  deficient  in  form." 

"  THE  LAST  supper"  OF  LIONARDO  DA  VINCI. 

Howard  remarks,  "  In  this  picture  the  subject  required 
that  the  apostles  should  be  placed  six  on  each  side,  with 
the  Saviour  in  the  midst.  At  each  extremity  of  the  table 
are  three  figures  (more  separated  than  those  next  to 
them)  which  are  combined  in  two  close  and  varied 
groups.  One  of  these  is  more  connected  than  the  other 
with  the  principal  figure,  which  gives  due  predominance 
to  the  central  mass,  and  prevents  the  composition  from 
appearing  too  positively  divided  into  triads.  The  heads 
are  at  unequal  distances,  and  form  in  themselves  an 
agreeable  waving  line.  There  is  an  ingenious  modula- 
tion in  the  arms  and  in  the  conduct  of  all  the  hands: 


26"6       .  THE  CAMERA  AXD  THE  PENCIL. 

every  figure  presents  a  different  quantity ;  and  the  princi- 
pal line  being  horizontal,  the  forms  above  it  are  con- 
trived to  pass  from  one  end  to  the  other,  in  a  sort  of 
undulating  chain.  It  would  be  difficult  to  point  out  a 
more  perfect  specimen  of  intricate  grouping,  than  that 
of  Peter,  Judas,  and  John  ;  Peter,  stretching  over  Judas, 
with  the  impetuosity  belonging  to  his  character,  addresses 
the  affectionate  John,  who  (his  hands  clasped  in  grief) 
inclines  toward  him ;  Judas  leans  back  to  support  him- 
self, and  assumes  the  firmness  and  surprise  of  innocence. 

"This,  with  another  group,  as  energetic,  and  almost 
as  fine,  on  the  other  side,  is  happily  opposed  to  the  calm 
resignation  of  the  Saviour,  producing  great  richness  and 
effect  in  the  centre,  and  a  fine  alternation  of  action  and 
repose  throughout.  Nothing  is  neglected  in  this  pro- 
found work,  which,  from  the  variety  of  its  excellencies, 
may  be  esteemed  a  school  in  itself." 

A  brief  pointing  out  of  the  persons  of  the  piece  by 
name  may  be  of  service  to  the  reader.  We  quote  from 
Gio  Gherardo  De  Eossi. 

1.  In  St.  John,  nearest  to  Jesus,  sweetness  and  purity 
are  expressed,  as  in  the  downcast  eyes,  &c. 

2.  Judas,  the  traitor,  between  John  and  Peter,  leans 
his  right  arm  on  the  table,  with  the  purse  in  his  hand, 
and  turns  eagerly  to  Jesus,  as  one  who  would  hide  his 
treason  under  affected  frankness. 

3.  Peter  looks  full  of  ardor  and  more  agitated  than 
the  rest ;  he  touches  John's  shoulder,  while  speaking  in 
his  ear. 

4.  Andrew,  Peter's  brother,  has  before  him  a  dish  of 
fish,  probably  symbolizing  his  vocation;  his  hands  are 
raised  and  outspread,  and  his  face  manifests  a  bewildered 
surprise. 


EEMAEKS  FEOM  VAEIOUS  AUTHOES.  257 

5.  James  tlie  Greater,  who  sits  next,  seems  amazed, 
and  is  touching  Peter's  arm,  as  if  to  address  him, 

6.  Philip,  at  the  end  of  the  table,  on  the  right,  wears 
the  Roman  dress.  His  face  expresses  doubt, — perhaps 
as  to  whether  he  had  rightly  understood  Christ's  remark, 
— and  a  question  as  to  who  was  the  traitor. 

On  Christ's  left  we  see,  first, 

7.  Thomas,  who  also  seems  astonished,  and  manifests 
a  sort  of  half-doubt  as  to  whether  this  supposed  treason 
is  a  fact. 

8.  Jude,  or  Thaddeus,  the  next,  expresses  much 
affliction,  and,  in  his  excitement  and  agitation,  his  fore- 
finger is  raised  as  if  in  enforcement  of  some  suggestion. 

9.  Simon  appears  painfully  excited,  and  as  if  anxious 
to  clear  himself  of  suspicion ;  while,  by  opening  his  vest 
with  both  hands,  he  might  be  supposed  to  symbolize  the 
exhibition  of  a  heart  free  from  the  guilt  in  question. 

10.  Matthew,  formerly  a  publican,  and  thus  versed  in 
the  world's  ways,  appears  to  be  questioning  his  neighbors 
about  the  matter  under  consideration. 

11.  Bartholomew  has  a  look  of  sincerity,  and  appears 
to  be  talking  with  James  the  Less  in  a  mood  of  indigna 
tion  at  the  treachery  revealed. 

12.  James  the  Less  wears  an  expression  of  habitual 
goodness,  and  would  seem  to  repeat  and  confirm  the 
words  of  the  Master. 

The  Master  himself,  seated  at  the  centre  of  the  table, 
has  his  eyes  cast  down  as  if  shunning  to  meet  those  of 
the  betrayer.  Purity,  holiness,  and  grief  are  depicted 
on  the  face,  which  the  painter,  however,  after  putting 
forth  his  utmost  efforts,  still  pronounced  imperfect. 

Fuseli  says  of  the  picture,  "  Sublimely  calm,  the 
Saviour's  face  is  an  abyss  of  thought,  and  broods  over 
the  immense  revolution  in  the  economy  of  mankind, 
17 


268         THE  CAMERA  AND  THE  PENCIL. 

whicli  presses  inwardly  on  his  absorbed  eye ;  while  every 
face  and  every  limb  around  him,  roused  by  bis  mysteri- 
ous word,  fluctuate  in  restless  curiosity  and  sympathetic 
pangs. 

''Neither  during  the  splendid  period  immediately 
subsequent  to  Lionardo,  nor  in  the  interval  between  that 
time  and  ours,  has  a  face  been  produced  of  the  Eedeemer, 
which  I  will  not  say  equalled,  but  even  a^iproached  the 
sublimity  of  Lionardo's  conception,  and  in  quiet  and 
simple  features  of  humanity  embodied  Divine,  or,  what 
is  the  same,  infinite  and  incomprehensible  powers. 

"  The  moment  is  that,  in  which  the  Saviour  says  to 
his  disciples,  'One  of  you  will  betray  me!'  On  every 
one  of  the  innocent  men,  the  word  acts  like  lightning ; 
he  who  is  farther  distant,  distrusting  his  own  ears,  applies 
to  his  neighbor ;  others,  according  to  their  variety  of  cha- 
racter, betray  raised  emotions.  One  faints ;  one  is  fixed  in 
astonishment ;  this  wildly  rises ;  the  simple  candor  of 
another  tells,  that  he  cannot  be  suspected.  Judas,  mean- 
while, assumes  a  look  of  intrepidity ;  but,  though  he 
counterfeits  innocence,  he  leaves  no  doubt  of  his  being 
the  traitor. 

"Da  Yinci  said,  he  wandered  about  for  a  year,  per- 
plexed how  to  produce  a  face  representing  so  black  a 
soul- as  that  of  Judas.  At  last,  in  a  street  haunted  by 
villains  he  met  with  a  man,  whose  face,  with  some  altera- 
tions and  additions,  answered  his  purpose." 

Ruskin  says,  "  That  virtue  of  originality,  which  men 
so  strain  after,  is  not  newness,^it  is  only  genuineness. 

"Lawrence  had  a  true  enthusiasm  for  his  art,  and 
would  not  hastily  dismiss  anything  for  which  he  was  to 
be  paid,  as  a  picture.  He  detained  his  sitters  often  for 
three  hours  at  a  time ;  had  generally  eight  or  nine  of 
these  sittings ;  and  all  the  while  studied  their  looks  anx- 


REMARKS  FROM  VARIOUS  AUTHORS.  259 

iously,  and  seemed  to  do  nothing  without  care  and  con- 
sideration." 

He  greatly  admired  Eeynolds,  and,  amid  all  the  won- 
ders of  art,  which  he  saw  in  a  visit  to  Italy,  his  love  of 
Reynolds's  works  seemed  to  increase  daily ;  and  though 
still  considering  M.  Angelo  as  the  head  of  all  that  was 
sublime,  he  looked  upon  Raffaelle,  Correggio,  Titian,  and 
Reynolds  as  the  gods  in  art,  at  whose  shrines  he  should 
hereafter  bend.  Of  Turner,  too,  though  an  opponent  to 
him  in  the  Academy,  he  spoke  in  terms  of  no  ordinary 
praise.  He  declared  that  Reynolds  excelled  all  other 
masters  save  Rembrandt,  the  most  complete  imitator  of 
*"he  effect  of  nature  that  art  had  ever  produced. 

"  An  artist  should  have  fine  pictures  in  all  parts  of 
his  house  to  catch  his  eye  and  entrap  him  into  reflection 
as  he  passes  by.  By  such  artifices  he  keeps  his  attention 
ever  on  the  alert." 

Edmund  Burke  says,  ''The  painter,  who  wishes  to 
make  his  pictures  what  fine  pictures  ought  to  be,  nature 
elevated  and  improved,  must  first  gain  a  perfect  know- 
ledge of  nature  as  she  is.  Before  he  makes  men  as  they 
ought  to  be,  he  must  know  how  to  make  them  as  they 
are ;  he  must  acquire  an  accurate  knowledge  of  all  the 
parts  of  the  body  and  countenance.  To  know  anatomy 
will  be  of  little  use,  unless  physiology  and  physiognomy 
are  joined  to  it." 

Says  Haydon,  "  Show  me  a  hero,  a  poet,  a  painter,  a 
musician,  a  tyrant,  a  murderer,  a  thief, — all,  remember, 
illustrious  in  their  respective  departments,  and  in  which 
their  phrenological  development  does  not  prove  the  truth 
of  phrenology,  and  I  yield. 

"  The  great  proportion  of  mankind  can  be  modified 
by  education  and  circumstance ;  but  there  are  some  so 
constituted,  inefficiently  or  powerfully,  that  no  circum- 


260  THE  CAMERA  AND  THE  PENCIL. 

stance  or  training,  in  the  latter  instance,  will  ever  turn 
them  aside  from  realizing  their  burning  impressions,  or, 
in  the  former,  elevate  them  to  produce  anything. 

"The  man  was  wrong  who  found  fault  with  nature 
for  not  placing  a  window  before  the  heart,  in  order  to 
make  visible  human  thoughts  and  intentions.  There  is, 
in  truth,  provision  made  in  the  countenance  and  outward 
bearing  for  such  discoveries. 

"  Cuvier  reduces  the  varieties  of  our  species  to  three, — 
the  Caucasian,  or  white ;  the  Mongolian,  or  yellow ;  and 
the  ITegro,  or  black.  The  Caucasian,  to  which  we  belong, 
is  known  by  the  beauty  of  the  oval-formed  head,  varying 
in  complexion,  and  color  of  the  hair.  From  this  variety 
the  most  civilized  nations  have  originated — ourselves 
for  instance. 

"In  every  head,  painted  by  M.  Angelo,  Eaffaelle, 
Titian,  Correggio,  Rubens,  or  Vandyke,  you  behold  a 
knowledge  and  mastery  of  the  skull. 

"  On  beholding  the  Elgin  Marbles,  I  foresaw  at  once 
a  mighty  revolution  in  the  art  of  the  world  for  ever.  I 
saw  that  union  of  Nature  and  Ideal  perfected  in  high  art, 
and  before  this  period  pronounced  impossible.  I  thanked 
God,  with  all  my  heart  and  my  whole  being,  that  I  was 
ready  to  comprehend  them  from  dissection,  I  bowed  to 
the  Immortal  Spirit,  that  still  hovered  near  them.  I 
instantly  predicted  their  vast  effect  on  the  art  of  the 
world,  and  was  smiled  at  for  my  boyish  enthusiasm ! 

"Fame  cannot  spread  widely  or  endure  long,  which 
is  not  rooted  in  nature  and  matured  by  art. 

"  Dryden  said  there  was  no  royal  road  to  knowledge ; 
and  we  may  say,  there  is  no  railroad  to  perfection  in 
art. 

"  In  using  nature  for  poetic  invention,  Reynolds,  Van- 
dyke,   and   even   Titian   and   Rubens   fail.     Reynolds, 


REMARKS  FROM  VARIOUS  AUTHORS.  261 


especially,  could  elevate  wliat  he  saw,  if  lie  kept  the 
elements  of  what  he  had  before  him.  The  instant  he 
left  his  model,  he  was  abroad. 

"  Mrs.  Siddons,  as  the  Tragic  Muse,  is  more  poetical 
than  his  own  inventive  Tragic  Muse  in  Garrick,  between 
her  and  Comedy.  Mrs.  S.  was  an  elevated  portrait,  while 
the  other  was  his  own  invention,  and  the  two  completely 
illustrate  the  principle  laid  down.  Reynolds  was  a  great 
artist  in  the  second  rank ;  but  with  a  different  education 
and  in  a  different  period,  he  would  have  been  a  great 
artist  of  the  first  rank ;  but  his  genius  for  high  art  was 
not  intense  enough  to  make  him  a  great  artist  in  spite 
of  time  and  education. 

"  As  the  painter  has  but  one  moment ;  first,  his  subject 
must  be  one  of  palpable  interest,  big  with  the  past  and 
pregnant  with  the  future, — next,  his  actions  must  be 
doing,  his  passions  expressing,  his  lights  and  shadows 
fleeting;  something  must  be  past,  something  must  be 
coming,  and  he  chooses  the  point  of  interest,  the  point 
between. 

"  Reynolds's  broad,  masculine  touch ;  his  glorious, 
gemmy  surface ;  his  rich  tones ;  his  graceful  turn  of  the 
head,  will  ever  be  a  source  of  instruction  to  the  great 
artist,  let  him  practise  in  what  style  he  may." 

PORTRAIT. 

Burnet  says,  "Alexander  would  never  sit  for  his  por- 
trait to  any  one  but  Apelles,  who  knew  how  to  ennoble 
the  likeness ;  while  Cromwell  desired  Lely  to  represent 
all  his  warts  and  excrescences.  A  very  little  practice 
will  soon  convince  an  artist  that  most  of  his  sitters  will 
be  actuated  by  the  feelings  of  Alexander,  rather  than  by 
those  of  Cromwell. 
'  "Lawrence  used  to  say,  that  even  in  the  majestic  heiad 


262  THE  CAMEEl  AND  THE  PENCIL, 

of  Mrs.  Siddons  there  were  parts  and  forms  wHcli  did  not 
appear  to  belong  to  Mrs.  Siddons,  and  sliould,  therefore, 
be  omitted  in  lier  portrait.  To  every  bead  where  cha- 
racter as  well  as  resemblance  is  required,  the  same 
remark  will  apply. 

"  In  regard  to  actual  resemblance,  there  are  those 
whom  nothing  will  satisfy  but  a  real,  striking,  startling 
likeness, — a  something  which  a  child  might  not  only 
know,  but  mistake  for  the  reality.  Those  who  demand 
such  proof  from  art,  may  find  it  in  the  merest  daub,  in 
the  harshest  caricature,  but  will  look  for  it,  in  vain,  in 
the  finest  pictures. 

"  To  Titian,  the  father  of  portrait  painting,  we  must 
look  for  most  of  those  qualities  which  ennoble  and 
dignify  the  subject, — simple  and  unaffected  air  of  the 
figure,  grandeur  in  the  contour,  and  the  greatest  breadth, 
alike  in  the  light  and  shade,  and  the  color. 

"  In  the  portraits  of  Titian  we  find  every  portion  of 
the  countenance  laid  out  with  reference  to  its  grandeur 
and  its  greatest  breadth  and  dignity.  For  example,  the 
pupil  merges  in  the  outer  line  of  the  iris,  thus  giving  its 
greatest  bulk,  while  the  upper  and  lower  eyelids  are 
extended,  by  shadows,  to  the  eyebrow;  the  darks  of 
which  are  carried  out  by  a  union  and  dependence  with 
the  adjoining  hair ;  thus  making  the  extreme  boundary 
of  every  feature  its  definition, 

"  By  the  study  of  the  antique,  in  the  first  instance,  we 
acquire  a  more  perfect  knowledge  of  form,  indicative  of 
beauty  and  correct  discrimination  of  character.  The 
want  of  this  previous  study  is  perceptible  in  the  early 
German  and  Flemish  schools ;  and  the  adoption  of  it  has 
stamped  a  grandeur  and  dignity  on  the  works  of  the 
great  masters  of  the  Italian  schools. 

"  Giving  a  work  the  exact  look  of  nature,  unless  com- 


REMARKS  FROM  VARIOUS  AUTHORS.  263 

bined  with  the  scientific  arrangements  of  refined  art, 
may  create  wonder  in  the  ignorant,  but  seldom  gives 
satisfaction  to  persons  of  refined  taste.  It  is  mentioned 
of  a  portrait  by  Titian,  of  Charles  Y.,  that  on  its  being 
placed  on  the  terrace,  in  the  sun,  the  passers-by  took  oft" 
their  bonnets,  thinking  it  the  emperor  himself." 

But  I  must,  however  unwillingly,  bring  these  extracts 
to  a  close.  I  cannot  but  think  that  I  shall  have  the 
reader's  approbation  for  having  occupied  so  many  pages 
of  this  volume  in  such  a  way.  For,  if  I  mistake  not, 
the  heliographer  and  the  artist,  in  whatever  department, 
and  the  general  reader  not  less,  will  find  entertainment 
and  direct  instruction  and  matter  for  useful  reflection  in 
these  utterances  of  many  of  the  ablest  and  most  accom- 
plished minds  in  both  the  past  and  the  present  time.  If 
such  be  the  result,  I  shall  not  regret  the  time  and  labor 
expended  in  bringing  them  into  such  order  as  I  have 
been  enabled  to  give  them. 

Note. —  What  High  Art  is. — "  High  art,"  says  a  modern  critic,  "  if  there  bo 
any  such  thing,  must  be  that  use  of  the  arts  which  has  the  efiFect  of  elevating 
and  refining  the  morals.  Thus,  in  painting,  while  the  delineation  of  the  sub- 
ject, the  harmony  of  all  its  features,  and  the  combination  and  blending  of  the 
colors,  must  be  so  perfectly  true  to  nature  as  to  satisfy  the  highest  and  most 
intelligent  perception  of  excellence,  the  subject  itself,  or  its  treatment,  must 
be  suggestive  of  ideas  tending  to  elevate  the  moral  sentiments;  without 
which,  no  picture,  however  admirable  the  execution,  can  be  called  a  work  of 
high  art.  Historical  pictures,  therefore,  unless  recording  some  event  in  which 
great  principles  were  involved,  are  not  necessarily  high  art,  although  it  is 
common  so  to  consider  them. 

"  Music,  which  specially  appeals  to  the  feelings,  proves  the  correctness  of 
this  theory,  the  devotional  being  universally  acknowledged  as  the  highest 
order.  Still,  it  is  very  questionable  whether  the  use  of  such  a  term  is  justifi- 
able, under  any  circumstances,  because  there  are  many  pictures  that  would 
suggest  various  ideas  to  diS'erent  people;  so  that  what  would  excite  in  one 
man  merely  sensual  desire,  in  another  might  call  into  activity  the  highest 
and  purest  sentiments  of  which  the  human  mind  is  capable." 


CHAPTEE  XXYI. 

ON  COLORING  PHOTOGEAPHS. 

Introduction — Necessity  for  color  to  an  artistic  photograph — Influence  of  white 
and  black  on  colors — Blonde  and  brunette  complexions — Water  colors — 
Coloring  in  oil,  some  knowledge  of  drawing  requisite — Concluding  remarks. 

As  the  subjects  treated  in  the  foregoing  chapters  have 
been  so  discussed,  as  to  indicate  to  the  student,  the 
amateur,  and  the  general  reader,  the  principles  lying  at 
the  basis  of  a  good  portrait,  and  giving  it  value  both  as 
a  Ukeness  and  a  work  of  art, — the  truth  of  which  princi- 
ples is  confirmed  by  the  opinions  of  the  ablest  and  most 
eminent  artists  of  former  times ; — so  I  here  introduce  a 
chapter  upon  finishing  and  coloring  the  Photograph  in 
several  of  the  most  approved  styles  in  vogue.  These 
styles,  if  carried  skilfully  into  efi'ect,  will  impart  to  a 
portrait  a  permanence,  and  a  charm,  which  ever  satisfies 
and  delights,  without  tiring. 

Here  the  practical  Photographer  and  the  professional 
Artist  work  together — the  Camera  and  the  Pencil  are 
companions. 

THE  PRINCIPLES  OF  HARMONIOUS  COLORING. 

As  I  have  repeatedly  shown  in  the  present  volume,  a 
heliograph  which,  chemically  and  mechanically,  may  be 
pronounced  perfect,  may,  when  considered  as  a  work  of 
art,  be  exceedingly  imperfect.  I  need  scarcely  add,  that 
judgment  and  taste  enough  may  be  shown  in  its  pro- 
duction, in  the  arrangement  of  position,  and  the  distribu- 
tion of  lights  and  shadows,  to  entitle  it  to  the  name  of 
picture,  while,  regarded  as  a  portrait,  it  may  still  be  very 
defective.    The  effect  of  color  may,  in  many  instances, 

(2^4) 


PRINCIPLES  OF  HARMONIOUS  COLORING.  265 

be  absolutely  essential  to  anything  like  a  faithful  repro- 
duction of  the  original. 

To  obtain  good  results  in  coloring,  it  is  not  requisite 
merely  to  possess  the  manipulative  aptitude  to  imitate, 
with  somewhat  of  success,  the  color  of  the  object  copied. 
One  of  the  first  requirements  in  the  education  of  the 
painter,  is  a  knowledge  of  the  value  of  his  colors ;  of 
their  relations  and  harmonies ;  and  of  their  results  in 
juxtaposition  and  combination.  As  in  music  an  ex- 
haustless  world  of  beauty  and  delight  is  produced  by  the 
various  combinations  and  sequences  of  seven  different 
sounds,  so  in  painting  a  source  of  beauty,  scarcely  more 
circumscribed,  results  from  the  combination  and  arrange- 
ment of  three  primary  colors ;  and  in  painting,  as  in 
music,  the  beauty  consists  not  in  any  single  color,  any 
more  than  it  does  in  any  one  note,  but  in  the  relation  it 
is  made  to  bear  fco  others. 

True  it  is,  that,  in  this  respect,  the  field  of  the  portrait 
painter  is  perhaps  more  contracted  than  that  of  the 
painter  of  works  of  imagination  and  fancy,  or  even  than 
that  of  the  landscape  painter  ;  while  the  province  of  the 
colorist  of  heliographic  pictures  is  more  limited  still. 
Nevertheless,  without  some  acquaintance  with  the  prin- 
ciples of  harmonic  coloring,  he  can  hardly  hope  even  to 
approximate  to  the  best  results.  And  while  in  portraiture 
the  painter  is  required  to  reproduce,  in  many  respects,  as 
nearly  as  possible,  the  colors  inherent  in  the  object  repre- 
sented, still  in  the  selection  of  colors  for  draperies,  back- 
grounds, &c.,  greater  freedom  is  allowable ;  and  he  may 
employ  such  analogies  or  contrasts  of  color,  as,  while 
producing  a  harmonic  total,  give  value  and  effect  to  the 
colors  of  the  complexion.  To  aid  the  colorist  in  this 
particular,  I  will  here  present  a  very  brief  summary  of 
the  leading  principles  belonging  to  this  subject,  limiting 


266  THE  CAMERA  AND  THE  PENCIL. 

myself  to  the  bare  statement  of  them,  with  as  little  com- 
ment as  possible. 

The  source  of  all  color  is  light,  and  a  beam  of  white 
light  is  divisible  into  three  separate  rays, — blue,  yellow, 
and  red.  These  constitute  the  three  (so  named)  primary 
colors,  and  by  their  various  combinations  every  possible 
hue  may  be  obtained.  White  light,  when  decomposed  by 
passing  through  a  prism,  yields  what  is  entitled  the  solar 
spectrum.,  which  consists  of  the  seven  colors  seen  in  the 
rainbow,  arranged  in  the  following  order : — violet,  indigo, 
blue,  green,  yellow,  orange,  and  red;  and  hence  it  was 
formerly  thought,  that  each  of  these  was  an  elementary 
color.  Subsequent  observation,  however,  has  shown, 
that  all,  save  blue,  yellow,  and  red,  are  produced  by 
these  overlapping  or  impinging  upon  each  other. 

These  colors,  in  their  several  combinations,  are  named 
hues.  These  hues,  when  weakened  by  commingling  with 
white,  are  called  tints,  and  when  deepened  by  admixture 
with  black,  are  entitled  shades  or  shadows.  The  varied 
gradations  of  tints  and  shades  of  a  single  color,  constitute 
a  scale. 

The  presence,  in  felicitous  proportions,  of  the  three 
primary  colors,  or  their  combinations,  in  a  picture  pro- 
duces harmony. 

Any  two  primary  colors  mingled  in  certain  propor- 
tions, produce  a  secondary  color  which  is  complementary 
to  the  remaining  primary  color.  For  instance,  the 
mixture  of  blue  and  yellow  produces  green,  which  is 
complemental  to  red. 

The  mixture  of  yellow  and  red  produces  orange,  which 
is  complemental  to  blue. 

The  mingling  of  red  and  blue  produces  purple,  which 
is  complementary  to  yellow,  as  may  be  seen  by  trying 
the  experiment  indicated  by  the  following  diagram. 


PRINCIPLES  OF  HARMONIOUS  COLORING.  267 


Divide  a  circle  into  six  equal  parts,  numbered  1,  2,  3, 
4,  5,  6,  as  in  the  annexed  diagram.  Let  the  spaces  1,  2, 
3,  be  colored  blue;  3,  4,  5,  yellow;  and  5,  6,  1,  red. 

It  will  appear,  that  the  space  1  is  now  colored  purple,  by 
the  combination  of  red  and  blue,  and  that  it  is  located 
opposite  to  its  complementary,  yellow,  the  remaining 
primary. 

The  space  3  is  colored  g^-een  by  the  combination  of 
blue  and  yellow,  and  is  opposite  to  its  oompl  mental,  red, 
the  remaining  primary. 

The  space  5  is  colored  orange,  by  the  commixture  of 
yellow  and  red,  and  is  opposite  to  red,  its  complement- 
ary. 

These  combinations  may  be  carried,  with  like  results, 
to  an  extent  virtually  unlimited.  For  example,  the  com- 
bination of  any  two  secondary  colors  produces  a  tertiary, 
which  is  complemental  to  the  remaining  secondary. 

Thus,  the  mixture  of  orange  and  green  produces 
citrine,  which  is  the  complemental  oi purple;  purple  and 
green  produce  olive,  which  is  complementary  to  orange; 
purple  and  orange  produce  russet,  which  is  complemental 
to  green,  and  so  on. 

This  description  of  the  relations  of  colors  is  not  a  mere 


268  THE  CAMERA  AND  THE  PENCIL. 

arbitrary  one,  nor  is  it  the  result  of  fancy  or  taste;  but 
it  is  based  on  absolute  inherent  principles.  These  rela- 
tions exist,  as  a  physical  necessity  of  onr  organs  of 
sight,  as  may  be  demonstrated  by  a  few  simple  experi- 
ments. 

If,  for  example,  a  red  wafer  be  laid  on  a  sheet  of  white 
paper,  and  the  eye  be  steadily  fixed  upon  it  for  a  short 
time,  and  then  transferred  to  another  part  of  the  paper, 
a  similar  spot  will  appear  before  the  eye,  but  of  green, 
the  color  complementary  to  red.  This  spot,  named  an 
ocular  spectrum,  will  remain  visible  for  a  few  minutes,  till 
it  is  gradually  removed  by  the  white  light  reflected  from 
the  paper. 

If  the  same  experiment  be  tried  with  a  blue  wafer,  the 
color  of  the  spectrum,  thus  produced,  will  be  orange  ;  if 
with  a  yellow  wafer,  a,  pzirple  spectrum  is  the  result,  and 
so  on  with  the  others. 

This  principle  is  applicable  to  every  combination  and 
variety  of  tint.  Thus,  if  a  red  inclines  somewhat  to 
yellow,  as  in  scarlet,  then  the  complemental,  green, 
will  incline  a  little  to  blue,  and  become  a  bluish 
green. 

If,  contrariwise,  the  red  inclines  a  little  to  blue,  as  in 
crimson,  the  complementary  will  incline  somewhat  to- 
wards yellow,  and  become  a  yellowish  green. 

These  combinations  may  be  multiplied  by  gradations, 
so  minute  and  delicate,  that  to  enumerate  them  is  impos- 
sible. 

The  quality  of  their  relations,  however,  may  be  illus- 
trated by  the  appended  diagram,  wherein  the  cample- 
mental  of  each  color  will  be  noted  in  the  space  directly 
opposite  to  it ;  each  pair  exhibiting  a  harmonic  balance 
of  the  three  primary  colors. 


PKINCIPLES  OF  HARMONIOUS  COLORING. 


269 


Green  Blue. 
Blue  Green.      0 
Green, 


Yellow  Green. 


Green  Yellow. 


Yellow. 

Orange  Yellow, 

Yellow  Orange. 


Violet  Blue. 
Blue  Purple. 
Purple. 

Bed  Purple. 


Purple  Red. 


Orange  Red. 


Each  pair  of  colors,  comprising  a  'primary  with  its 
complemental  secondary,  exhibit  also,  sundry  special  con- 
trasts peculiar  to  themselves. 

For  instance,  blue  is,  at  once,  the  coldest  color  and  the 
most  retiring,  while  orange,  its  complemental,  is  the 
warmest  color  and  the  viost  advancing .  Every  combina- 
tion of  colors,  as  it  approaches  towards  orange  or  blue,  is, 
in  its  effect,  warm  or  cold,  and,  in  a  picture,  wears  the 
appearance  of  approaching  the  eye  or  receding  from 
it. 

Yellow  is  the  brightest  of  colors,  aad  is  most  nearly 
allied  to  light ;  while  purple,  its  complemental,  is  the 
darkest  of  colors. 

We  may  here  state  that  white  and  hlack,  which  contrast 
most  perfectly  as  Light  and  Darkness,  are  not  considered 
as  colors :  white,  which  most  nearly  resembles  light,  being 
regarded  as  representing  a  combination  of  all  colors,  and 
hlack,  like  darkness,  the  absence  alike  of  color  and  light. 

Red  is  the  most  positive  and  exciting  of  all  colors ; 
while  green,  its  complemental,  is  the  least  stimulative  and 
most  soothing  of  all  colors. 

It  may  be  noted  that,  while  each  combination  of  two 


270         THE  CAMERA  AND  THE  PENCIL. 

primary  colors  produces  a  new  and  perfect  hue,  each 
subsequent  combination  tends  to  create  neutrality.  The 
neutral  tints,  however,  which  are  thus  produced,  partake 
in  a  greater  or  less  proportion  of  the  special  character- 
istics of  the  primaries,  to  which  they  are  most  closely 
allied. 

Complemental  colors  in  juxtaposition,  mutually  con- 
tribute to  enrich  each  other,  and  produce  what  is  entitled 
the  harmony  of  contrasts.  For  instance,  purple  and  yelloic, 
of  like  purity  and  intenseness,  become  each  the  brighter 
from  contact  with  each  other, — the  yellow  becoming 
intensified  by  the  additional  yellow  rays  reflected  from 
the  purple,  and  the  purple  having  its  richness  enhanced 
by  the  purple  rays  yielded  by  the  yellow.  From  the 
same  cause  neutral  tints,  put  in  juxtaposition  with  full 
hues,  appear  to  be  tinged  with  the  complemental  colors 
of  such  hues.  Gray,  for  example,  placed  in  juxtaposition 
with  red,  takes  on  the  appearance  of  greenish  gray,  green 
being  the  complementary  of  red. 

Colors  not  complemental  to  each  other,  are  reciprocally 
injured  by  contact. 

For  instance,  blue  and  purple  put  in  juxtaposition  are 
both  injured ;  the  hlue  growing  greenish  from  the  yellow 
]'ays  emitted  by  the  purple  taking  a  russet  tinge  from  the 
orange  rays  reflected  from  the  hlue. 

From  this  fact,  it  appears  that  neutral  tints  put  in  con- 
tact with  full  hues,  should,  in  order  to  yield  the  best 
results,  incline  to  the  complemental  of  such  hues. 

For  example,  olive  placed  in  juxtaposition  with  yellow, 
should,  to  produce  the  finest  effects,  incline  to  purple 
rather  than  to  green,  purple  being  complementary  to 
yellow. 

Over  and  above  the  results  produced  by  contrast  of 
hue,  that  flowing   from  contrast  of  intensity  should  be 


PRINCIPLES  OF  HARMONIOUS  COLORING.  271 

considered.  If  two  tints,  of  like  color,  but  of  different 
degrees  of  depth  or  intensity,  are  placed  side  by  side,  the 
deep  tint  will  appear  still  deeper,  while  the  light  tint  will 
appear  still  lighter,  the  difference  in  intenseness  appear- 
ing greatest  at  the  points  of  contact. 

Contrasting  colors,  also,  of  various  degrees  of  intensity, 
are  doubly  modified  by  contact ;  in  brilliancy  of  hue,  as 
before  described,  and  likewise  in  intenseness,  the  deepest 
color  appearing  still  deeper,  and  the  least  intense  appear- 
ing still  more  diluted. 

Hence,  all  colors  gain  depth  by  contact  with  white,  as 
the  white  takes  the  complemental  tint  of  the  color  near 
it.  Contrariwise,  black  tends  to  weaken  the  colors  in 
its  immediate  vicinity. 

The  influence  of  the  several  hues  on  black  is  varied  in 
a  similar  way,  its  depth  being  materially  modified  by 
contact  with  colors  having  luminous  complementaries. 
For  instance,  black,  in  juxtaposition  with  purple,  loses 
depth  from  being  tinged  with  the  yellow  rays  emitted  by 
the  purple ;  in  contact  with  blue  or  green,  it  grows  rusty 
from  the  orange  or  red  rays  reflected  by  these  colors. 

On  the  other  hand,  black  is  intensified  by  contrast  with 
orange,  yellow,  or  red. 

The  juxtaposition  of  gray,  which  is  a  commixture. of 
white  and  black,  imparts  brilliancy  to  all  pure  colors. 

Besides  the  harmony  resultant  from  judicious  con- 
trasts, there  is  the  harmony  of  analogy,  produced  by  the 
combination  of  the  several  gradations  of  a  single  color 
in  its  own  scale,  or  of  the  hues  and  broken  tints  in  the 
order  wherein  they  occur  in  the  solar  spectrum.  A 
measureless  sum  of  pleasing  effects  may  be  obtained  by 
the  judicious  arrangement  of  analogous  tints  in  harmonic 
relations.     Being,  however,   less   striking,    much   nicer 


272         THE  CAMERA  AND  THE  PENCIL. 

perceptions,  and  more  skilful  management,  are  required 
to  produce  felicitous  effects. 

It  has  been  already  remarked,  that  the  laws  regulating 
harmonious  coloring  are  not  suggested  by  fancy,  but  are 
based  on  absolute  inherent  relations.  A  very  little 
observation  of  nature  will  furnish  pleasing  illustrations 
of  both  species  of  harmony.  A  striking  instance  of  the 
harmony  of  analogy  may  be  witnessed  in  the  beautifully 
graduated  and  blended  colors  of  the  rainbow;  and,  more- 
over, in  almost  every  landscape,  where  the  blue  of  the 
far  distance  blends  with  the  cool  greens  and  grays  of  the 
middle  distance;  and  these  merge  into  the  warmer  greens, 
yellows,  and  browns  of  the  foreground ;  while,  if  the  sun 
be  setting  in  the  landscape,  every  object  is  beautified  by 
the  play  of  golden  lights  and  purple  shadows.  With 
specimens  of  the  harmony  of  contrast,  nature  teems  in 
every  garden,  meadow,  and  moor:  as  witness  the  damask 
rose,  with  its  yellowish  green  leaf;  the  scarlet  holly 
berry,  and  its  deep  green  foliage ;  and  the  well-nigh  un- 
varied mingling  of  yellow  gorse  and  purple  heather. 

In  applying  these  principles  to  the  coloring  of  pro- 
traits,  it  were  well  to  remember,  that  M.  Chevreul,* 
whose  investigations  of  this  subject  entitle  him  to  the 
highest  rank,  as  an  authority,  while  discussing  the  har- 
mony of  colors,  as  belonging  to  the  human  complexion, 
considers  the  blonde,  or  fair  complexion,  as  always  allied, 
more  or  less,  to  an  orange  tint  throughout ;  remarking 
that,  as  the  color  of  light  hair  is  essentially  the  result  of 
a  commingling  of  red,  yellow,  and  brown,  we  must  esteem 
it  as  a  very  pale  orange  brown. 

*  To  the  student,  who  would  make  himself  thoroughly  fiimiliar  with  the 
subject,  may  be  recommended  M.  Chevrenl's  work,  on  "The  Simultaneous 
Contrasts  of  Colors  ;"  as  also  Mr.  Redgrave's  excellent  little  "  Manual  of  Color." 

Wo  maj',  further,  refer  him  to  our  chapter  entitled,  "  The  Harmony  of 
Colors,  pp.  67-83." 


PKINCIPLES  OF  HARMONIOUS  COLORING.  273 


By  this  we  are  to  understand  merely  that  orange  is 
i\iQfull  hue,  to  which  blonde  complexions  approach  most 
nearly.  In  what  is  termed  decidedly  red  hair,  the  orange, 
certainly,  is  sufficiently  pronounced,  as  also,  though,  to 
be  sure,  in  a  less  degree,  in  auburn  and  chestnut  hair, 
the  approach  to  orange  growing  less  decided,  as  the  yel- 
low or  brown  tint  predominates. 

He  adds,  "  the  color  of  the  skin,  though  of  a  lower 
tone,  is  akin  to  that  of  the  hair,  except  in  the  red  parts ; 
and,  moreover,  blue  eyes  are,  really,  the  sole  portion  of 
the  fmr  type,  which  exhibits  a  contrast  of  color  with  the 
ensemble;  for  the  red  parts  produce,  with  the  residue  of 
the  skin,  merely  a  harmony  of  analogy  of  hue,  or,  at 
most,  a  contrast  of  hues  and  not  of  colors;  and  the  por- 
tions of  the  skin  nearest  to  the  hair,  the  eyebrows,  and 
the  eyelashes,  present  a  harmony  of  analogy,  either  of 
scale  or  of  hueP 

In  the/a?'r  type,  then,  the  harmonies  of  analogy  mani 
festly  prevail  over  the  harmonies  of  contrast. 

When  hazel  eyes  exist  in  the  fair  type  (as  is  often  the 
case),  in  combination  with  chestnut  hair,  the  analogic 
harmony  is  perfect.  In  the  several  complexions  usually 
classified  under  the  title  Brunette,  wherein  black  or  dark 
hair  predominates,  there  is  a  prevalence  of  the  harmony 
of  contrast. 

"In  fact"  (remarks  Chevreul),  "the  hair,  eyes,  and 
eyebrows  contrast,  in  color  and  tone,  not  alone  with  the 
white  of  the  skin,  but  also  with  the  red  portions,  which, 
in  this  type,  are  actually  redder,  or  less  rosy,  than  in  the 
blonde  type.  Nor  shoald  we  forget,  that  a  decided  red, 
combined  with  black,  communicates  to  the  latter  the 
aspect  of  an  exceedingly  deep  color,  either  blue  or 
green." 

A  proper  understanding  of  the  principles  here  indi- 
18 


274:         THE  CAMEKA  AND  THE  PENCIL. 

cated,  will  enable  the  colorist  to  secure  fidelity  to 
nature,  in  the  particulars  absolutely  inherent  in  his 
model,  while  he  so  arranges  the  draperies,  background, 
&c.,  as  to  impart  value  to  the  complexion,  and  produce 
a  harmonious  and  perfect  picture. 

The  putting  into  verse  of  maxims,  of  any  species,  is 
so  valuable  an  aidance  to  the  memory,  that  it  has  been 
styled  the  "Shorthand  of  Thought;"  and  it  will  be 
scarce  needful  to  allude  to  the  trite  quotation  from 
Fletcher  of  Saltoun,  wherein  he  declares,  without  quali- 
fication, that  a  "Nation's  verse  exerts  a  higher  and  more 
potent  influence  than  its  laws,"  in  order  to  justify  the 
annexing  to  the  present  chapter  of  the  following  lines, 
from  the  facile  pen  of  Henry  Hopley  White,  Esq.,  of 
England,  aptly  embodying,  as  they  do,  the  principles  to 
which  this  chapter  is  devoted.     It  is  entitled : 

"  THE  RELATIONS  AND  HAEMONIES  OF  COLOR." 

Blue — Yellow — Red — pure  simple  colors  all, 
(By  mixture  not  obtained)  vie  primaries  call; 
From  these,  in  various  combinations  blent, 
All  other  colors  trace  their  one  descent. 

Each  mixed  with  each, — their  powers,  combined,  diffuse 

New  colors,  which  are  secondary  hues; 

Yellow,  with  red  makes  orange;  with  blue,  green; 

In  blue,  commixed  with  red,  is  purple  seen. 

Each  of  these  hues  in  harmony  we  find, 

When  with  its  complementary  combined ; 

Orange,  with  blue  and  green,  with  red  agrees, 

While  purple  tints,  near  yellows,  always  please. 

The  secondaries  tertiaries  produce, 

And  citrine,  olive,  russet,  bring  to  use. 

Thus  green  and  orange,  blent,  produce  citrine, 

While  olive  springs  from  purple,  mixed  with  green; 

Orange  and  purple,  mingled,  russet  prove. 

And  wrought  upon  hy  the  law,  named  above. 


PRINCIPLES  OF  HARMONIOUS  COLORING.  276 


The  complemental  secondary/  hue 
Harmonious  with  each  tertiary  we  view. 

Thus  citrine,  olive,  russet,  harmonize 
With  purple,  orange,  green,  their  true  allies ; 
These  hues,  by  white  diluted,  tints  are  made, 
AVhile  by  black  deepened  into  darkest  shade. 
Pure  or  combined,  the  primaries,  all  three, 
To  please  the  visual  orbs,  must  present  be; 
If  the  support  be  lacking  even  of  one, 
In  that  proportion,  harmony  is  gone  : 
Should  red  be  unsustained  by  a  due  share 
Of  blue  and  yellow />«rey  combined  they  are 
In  green  ;  which,  secondary,  thus  we  see, 
The  harmonizing  medium  of  the  three. 

Yellow,  for  light,  contrasts  dark  purple's  hue, 

Its  complemental,  made  of  red  and  blue, 

Red  most  exciting  is, — let  nature  tell 

How  grateful  and  how  soothing  green's  soft  spell. 

So  blue  retires,  beyond  all  colors  cold, 
While  orange  warm,  advancing,  you  behold ; 
The  mingling  of  two  primaries  makes  a  hue 
As  perfect  and  decided  as  'tis  new  : 
But  all  the  mixtures,  which  the  three  befall, 
Tend  to  destroy  or  neutralize  them  all, — 
Nay  mix  them,  three  parts  yellow,  five  of  red, 
And  eight  of  blue,  the  colors  all  are  fled; 
When  primaries  are  not  ^ure,  you're  sure  to  see 
Their  complementals  change  in  due  degree. 

If  red  (with  yellow)  to  a  scarlet  tend. 
Some  blue  its  complemental  green  will  blend; 
So,  if  your  red  be  crimson  (blue  with  red). 
Your  green  with  yellow  would  be  varied ; 
If  yellow  tends  to  oranger  then  you  find 
Purple  (its  complement)  to  blue  inclined; 
But,  if  to  blue  it  leans,  then  mark  the  change. 
Nearer  to  red  you  see  the  purple  range. 
If  blue  partakes  of  red,  the  orange  then 
To  yellow  tends; — if  yellowish,  you  ken, 
The  secondary  orange  glows  with  red. 
Reader,  farewell !  my  lesson  now  is  said. 

H.  H.  W 


276  THE  CAMEEA  AND  THE  PENCIL, 


WATER  COLORS. 

The  colors,  required  for  coloring  photographs,  are  the 
same  as  are  employed  for  miniature  painting,  with  such 
difference  in  their  combinations,  as  the  tone  of  the  pho- 
tograph renders  necessary.  The  following  list  comprises 
all  that  are  essential ;  and  if  used  perfectly  pure,  they 
will  not  injure  the  picture. 

Antwerp  Blue,  Chinese  White,  Bistre,  Chrome  Yellow, 
1,  2,  3,  Black  Lead,  Cobalt  Blue,  Blue  Black,  Cologne 
Earth,  Bright  Roman  Ochre,  Constant  White,  British  Ink, 
Crimson  Lake,  Bronze.  Dragon's  Blood,  Brown  Madder, 
Emerald  Green,  Brown  Pink,  French  Blue,  Burnt  Car- 
mine, Gallstone,  Burnt  Sienna,  Gamboge.  Burnt  Umber, 
Green  Bice,  Cadmium  Yellow,  Green  Oxide  of  Chro- 
mium, Carmine,  Chalons  Brown,  Hooker's  Green,  1,  2, 
Chinese  Yermilion,  Indian  Lake,  Indian  Bed,  Prussian 
Blue,  Indian  Yellow,  Prussian  Green,  Indigo,  Purple, 
Intense  Blue,  Purple  Brown,  Intense  Brown,  Purple 
Lake,  Italian  Pink,  Purple  Madder,  Ivory  Black,  Raw 
Sienna,  King's  Yellow,  Raw  Umber,  Lamp  Black,  Red 
Chalk,  Lemon  Yellow,  Red  Orpiment,  Light  Red,  Rose 
Madder,  Madder  Carmine,  Roman  Ochre,  Malachite 
Green,  Sap  Green,  Mars  Brown,  Scarlet  Lake,  Mars 
Orange,  Sepia,  Mars  Red,  Sepia  Page's,  Mars  Yellow, 
Sepia  Warm,  Naples  Yellow,  Smalt,  Neutral  Tint,  Terra- 
Yerte,  Olive  Green,  Ultramarine,  Orange  Ochre,  Ultra- 
marine Ashes,  (Olive  Yermilion,  2),  Yandyke  Brown, 
Yenetian  Red,  Payne's  Gray  (for  Scarlet),  Yerditer,  Per- 
manent Crimson,  Yermilion,  Pink  Madder,  Yellow  Lake, 
Yellow  Ochre. 

Carmine. — This  is  a  brilliant  red,  inclining  to  crimson, 


PRINCIPLES  OF  HARMONIOUS  COLORING.  277 

very  clear  in  its  pale  washes,  and  in  its  full  touches 
intense.  As  it  is  somewhat  fugitive  in  its  nature,  it 
should,  in  flesh  tints,  be  used  with  caution. 

Burnt  Carmine  is  a  rich,  deep  crimson,  very  useful  in 
the  full  touches  of  drapery. 

Rose  Madder. — A  most  valuable  color  for  flesh, — its 
pale  washes  being  delicate,  clear,  transparent,  and  very 
permanent. 

Pinh  Madder. — Similar  to  the  last  named,  but  some- 
what deeper  in  tint. 

Crimson  Lake. — Somewhat  akin  to  carmine,  but  less 
brilliant ;  chiefly  useful  in  draperies. 

Venetian  Red. — A  beautiful  color  for  flesh;  works  well 
and  is  permanent.  Its  pale  washes  are  very  clear,  and 
slightly  modified  with  Indian  Yellow,  it  constitutes,  in 
the  hands  of  the  miniature  painter,  a  valuable  general 
tint  for  most  complexions,  though  for  photographs  it 
is  often  too  deep. 

Light  Red. — Is  analogous  in  general  character,  but 
more  inclining  to  orange. 

Lndian  Red. — A  powerful  red,  of  a  purplish  hue.  It 
works  well  and  is  durable,  but  is  useful  only  when  in 
combinations,  as  a  shadow  for  flesh. 

Vermilion. — A  very  brilliant  red,  not  generally  suita- 
ble for  flesh  tints,  as  it  is  heavy  and  does  not  work  well. 
With  a  little  lake,  it  is  useful  for  the  lower  lips  of  child- 
ren. 

Orange  Verr/iilion,  ISTo.  2. — Works  more  favorably  than 
the  last  preceding,  and,  as  suggested  by  its  name,  it  in- 
clines somewhat  to  yellow.  (This  color,  which  is  one  of 
Newmans,  is  the  nearest  approach  to  a  pure  scarlet,  that 
is  permanent.) 

Roman  Ochre. — Useful  for  dark  flesh,  as  also  for  dra 


278  THE  CAMEEA  AND  THE  PENCIL. 

peries.  It  is  used,  moreover,  in  combination  with  sepia, 
for  light  hair. 

Yellow  Ochre. — Used  in  combination  for  light  hair, 
and  also  in  landscape  backgrounds. 

Indian  Yelloiv. — A  brilliant  and  intense  yellow,  which 
works  well.  From  its  purity  of  tint,  it  is  a  most  useful 
yellow  for  mixing  in  flesh  tints.  For  many  photo- 
graphs, however,  it  is  too  intense. 

Cadmium  Yellow. — A  very  brilliant  and  durable  color 
for  draperies,  as  also  useful  in  producing  orange  tints. 

Gamboge. — A  fine,  rich  yellow,  useful  in  forming 
green  combinations.  It,  moreover,  washes  well,  but  is 
not  suitable  for  flesh. 

Lemon  Yellow. — A  beautiful  light,  vivid,  and  perma- 
nent yellow,  useful  in  draperies  for  high  lights. 

Yellow  Lake. — A  bright,  transparent  yellow,  though 
somewhat  fugitive. 

Italian  Pink. — A  yellow  very  like  the  last  mentioned, 
but  deeper  and  richer. 

Naples  Yellow. — A  fine  light  yellow,  which,  when 
mingled  with  pink  madder,  is  valuable  as  a  general  wash 
for  flesh,  and  alone,  where  a  body  color  is  needed  for  the 
high  light.  Like  most  mineral  colors,  it  is  damaged  by 
impure  air,  and,  therefore,  the  picture  should  ever  be 
ciirefully  protected  from  this. 

Raio  Sienna. — A  brownish  yellow,  which  is  perma- 
nent, and  works  favorably,  and  is  specially  useful  in 
backgrounds. 

Burnt  Sienna. —  A  fine,  transparent  brown,  of  an  orange 
tint,  valuable  in  dark,  warm  complexions,  as  likewise  in 
backgrounds. 

Brown  Madder. — A  rich  russet  brown,  which  works 
well  and  is  permanent;  which  is  useful  for  the  darkest 
touches  in  flesh,  and  for  lowering  red  draperies.     When 


PRINCIPLES  OF  HARMONIOUS  COLORING.  279 

united  with  blue,  it  makes  a  delicate  gray,  useful  in  flesh 
shadows. 

Burnt  Umher. — A  good  brown,  useful  for  hair,  dra- 
peries, and  backgrounds. 

Sepia, — A  cool,  translucent  brown,  useful  equally  in 
its  full  touches  or  pale  washes,  and  valuable  for  hair, 
whether  in  combination  or  alone.  With  lake,  or  lake 
and  indigo,  it  yields  a  fine  transparent  black  for  the 
shadows  of  draperies,  of  either  silken  or  woollen  fabric. 

Sepia,  Warm. — Similar  to  the  substance  just  named, 
in  its  every  property,  though  of  warmer  tint. 

Yandyke  Brown. — A  fine  warm  brown,  useful,  from 
its  great  transparency,  in  glazing  numerous  other  tints, 
which  it  both  warms  and  deepens.  Care  in  its  use  is 
requisite,  since  it  is  liable  to  ''  worh  up,''''  when  a  large 
amount  of  it  is  employed. 

Neutral  Tint. — A  valuable  gray,  which  may  be  modi- 
fied for  almost  any  shadow,  by  the  addition  of  other 
tints. 

Purple  Madder. — A  deep  warm  purple,  of  great  rich- 
ness and  intensity,  which  works  well  and  is  permanent, 
and  is,  moreover,  useful  for  very  deep,  warm  shadows. 

French  Blue  or  French  Ultramarine. — A  fine  blue  very 
closely  resembling  the  tint  of  genuine  ultramarine,  while 
working  to  better  results. 

Cobalt. — A  bright,  durable  blue,  which  enters  largely 
into  the  shadow  colors  of  flesh. 

Prussian  Blue. — A  deep  blue,  useful  in  draperies,  and 
with  the  addition  of  carmine  constituting  all  varieties  of 
purple  and  violet.  It  should  not  be  used  in  flesh,  as  it 
is  liable  to  turn  green. 

Indigo. — A  good  dark  blue,  useful  in  combination  for 
producing  a  variety  of  greens  for  backgrounds. 


280         THE  CAMERA  AND  THE  PENCIL. 

Ivory  Black. — A  ricli  translucent  black,  in  its  washes 
inclining  somewhat  to  brown. 

Chinese  White. — A  valuable,  permanent  white,  of  great 
body  and  working  well ;  useful  for  the  light  of  eyes, 
lace,  &c.,  and  also  for  giving  body  in  draperies. 

BRUSHES,  ETC. 

The  operant's  pencils  should  be  moderate-sized  sables. 
When  charged  with  water,  they  should  terminate  in  a 
good  point,  with  no  uneven  hairs,  and  should  spring  well 
on  being  pressed  with  the  finger. 

For  large  washes,  a  few  good  camel's-hair  pencils  should 
be  provided.  For  hatching,  a  sable,  of  which  the  point 
has  been  worn  off,  will  serve  sufficiently  well. 

Small  pencils  should  be  discarded,  as  tending  to  pro- 
duce a  feeble,  wiry  effect,  which  is  extremely  undesirable. 

Good  pencils  are  essential,  alike  to  comfort  in  opera- 
ting, and  to  the  production  of  excellence  in  results. 

THE  PHOTOGRAPH ;  TO  CHOOSE  AND  PREPARE  IT. 

To  obtain  fine  results  in  coloring,  it  is  requisite  that 
the  photograph  approach,  in  some  degree  at  least,  to 
excellence.  It  is  important,  that  the  distribution  of  light 
and  shade,  in  the  picture,  be  effective  and  natural ;  that, 
throughout,  it  be  properly  focussed  and  sharp ;  and,  that 
it  be  a  clear,  well-defined,  and  bright  photograph. 

A  direct  vertical  light  for  producing  the  portrait 
should  be  avoided,  since  the  effect  of  light  and  shadow, 
so  obtained,  is  generally  unnatural, — the  intense  light  at 
the  crown  of  the  head  often  imparting,  even  to  dark, 
glossy  hair,  an  aspect  of  grayness,  while  the  shadows 
under  the  eyes,  nose,  and  chin,  appear  unpleasantly 
heavy. 


PRINCIPLES  OF  HARMONIOUS  COLORING.  281 

A  portion  of  skylight  joining  a  side-light,  and  both 
facing  the  north,  will  furnish  the  best  picture.  The 
sitter  should  be  placed  somewhat  back  from  beneath  the 
skylight,  while  the  head  quarters  a  little  from  the  side- 
light. The  whole  figure  will  then  be  well  illumined ; 
the  deepest  shadow  on  the  face  of  a  three  quarters'  view 
(which,  as  being  usually  the  best,  we  are  speaking  of 
here),  will  be  on  the  retiring  cheek,  while  the  partial 
profile  will  be  well  lighted  and  clearly  defined  on  the 
shadowed  cheek. 

The  position  of  the  head  in  relation  to  the  body  is  a 
matter  of  taste.  When  both  are  placed  in  one  and  the 
same  direction,  the  effect  is  most  simple ;  while  the  turn- 
ing of  the  body  in  one  direction,  and  of  the  head  in 
another,  imparts  to  the  figure  greater  animation.  Care, 
however,  should  be  taken,  not  to  give  too  much  move- 
ment to  the  figure,  or  to  put  it  in  a  strained  unnatural 
posture.     See  chapter  on  sitting,  pp.  105-112. 

The  background  should  be  of  a  tint  somewhat  about 
midway  between  the  highest  lights  and  the  deepest  sha- 
dows of  the  picture,  in  order  to  give  to  all  parts  due 
relief,  and  produce  the  best  effects  in  coloring.  If  the 
sitter  be  placed  a  few  feet  from  the  screen,  serving  as  a 
background,  the  figure  will  possess  greater  relief. 

Sufficient  space  for  background  should  be  secured 
both  above  and  around  the  figure ;  since  nothing  looks 
clumsier,  than  a  picture  with  scarce  any  background,  as 
though  the  sitter  were  cramped  for  space.  The  position 
of  the  figure  on  the  background,  is  the  sole  means  of 
indicating  the  size  and  proportions  of  the  model.  A 
figure  placed  high  on  the  plate,  suggests  a  tall  person, 
while  a  figure  low  down  in  the  picture,  intimates  a  short 
one,  A  background,  instead  of  being  crowded  with  use- 
less objects,  should  be  devoted  to  a  few  simple  items, 


282  THE  CAMERA  AND  THE  PENCIL. 

that  neither  agitate  the  feelings  nor  draw  off  the  atten- 
tion, which  ought  to  be  fixed  upon  the  principal  figure 
or  object. 

For  water  colors,  the  tone  of  the  picture  is  of  consider- 
able importance.  A  warm  neutral  tint  or  gray  is  the 
best  tone  for  coloring.  Heavy  shadows  of  purple,  brown, 
or  of  an  inky  tone,  are  very  undesirable,  from  the  lack 
of  harmony  between  these  tones  and  the  natural  shadows 
of  flesh. 

TO  MOUNT  THE  PICTURE  FOR  COLORING. 

The  first  step  in  preparing  the  photograph,  is  to  mount 
it  on  a  card-board.  For  this  purpose  a  solution  of  gela- 
tine, or  of  clean  fresh  glue,  should  be  used.  Paste  or 
gum  water  should  be  avoided,  as  these  are  prone  to 
generate  acid,  which  would  injure  the  picture. 

The  gelatine  or  glue  should  be  brushed  over  the  back 
of  the  photograph,  which  should  then  be  laid  on  the 
board.  A  sheet  of  clean  paper  should  now  be  placed  on 
the  surface,  and  then  pressed  gently  yet  firmly  down, 
and  finally  the  picture  should  be  put  under  a  weight. 
The  items  of  its  subsequent  preparation  depend  some- 
what on  the  process  of  its  production.  As  the  various 
photographic  papers,  through  the  diverse  processes  they 
are  subjected  to  by  operants,  present  almost  numberless 
varieties  of  surface,  no  universal  mode  of  procedure  can 
be  prescribed  for  preparing  a  surface  to  receive  water 
colors. 

To  apply  water  colors  to  paper  with  facility  and  effect, 
it  should  have  a  surface  whereon  the  colors  wash  easily, 
sinking  in  sufficiently  to  allow  other  colors  to  be  worked 
over  them  without  washing  up.  To  secure  such  surface, 
the  photograph  will  invariably  require  some  preparation. 

In  a  matter  so  important  and  so  greatly  affecting  sue- 


PRINCIPLES  OF  HAEMONIOUS  COLORING,  283 

cess,  not  less  than  comfort,  in  working,  we  would  urgent- 
ly recommend  "Newman's  preparation;"  which,  applied 
to  the  picture,  gives  a  fine  surface,  whereon  the  colors 
wash  easily,  and  enables  the  operant  to  produce  the  most 
brilliant  results. 

This  preparation  should  be  applied  with  a  camel's  hair 
brush,  and  spread  evenly  over  the  whole  surface  of  the 
picture,  which  then  should  be  dried.  For  the  most  part 
one  application  will  suffice,  and  this  may  be  ascertained 
by  trying  a  corner  with  a  little  color. 

If  it  wash  on  easily,  without  sinking  too  far  into  the 
surface,  it  is  ready  for  coloring.  If,  contrariwise,  it  is 
much  absorbed,  it  will,  especially  if  the  operant  be  a 
tyro,  require  another  application.  Before  beginning  to 
color,  the  surface  may  advantageously  be  washed  with 
clean  water  and  a  brush,  and  then  dried. 

Some  albuminized  paper  requires  no  preparing,  though 
it  is,  mostly,  improved  by  one  application.  If  the  colors 
work  greasily  on  albuminized  paper,  a  little  prepared 
ox-gall  may  be  united  with  them. 

Besides  its  use  for  preparing  the  surface  to  receive  the 
color  favorably,  this  "preparation"  is  invaluable,  as  a 
medium  for  adding  to  the  water  colors  in  vogue.  In  any 
preparation  for  this  purpose,  it  mixes  readily  with  water 
in  whatever  proportion,  and  has  the  important  property 
of  becoming  insoluble  when  dry,  so  that  a  wash  of  color, 
wherewith  it  has  been  combined,  is  not  liable  to  work 
up  in  applying  another  wash  over  it.  The  colorist  is 
thus  enabled  to  obtain  a  depth  and  transparency  resem- 
bling those  of  oil  colors,  and  wholly  unattainable  by 
mingling  the  colors  themselves  on  the  palette. 

In  employing  it,  only  a  small  portion  of  color  should 
be  mixed  at  one  time, — not  more,  indeed,  than  is  requi- 
site for  immediate  use;    since,   when  the  color  mixed 


284         THE  CAMERA  AND  THE  PENCIL. 

therewith  has  once  dried  en  the  palette,  it  is  unfit  for 
subsequent  use.  The  palette  and  pencils  should,  more- 
over, be  washed  before  the  color  hardens,  or  its  remoyal 
will  be  troublesome. 

The  "preparation,"  so  often  alluded  to,  may  frequently 
be  used  profitably  both  upon  salted  and  albuminized 
paper,  to  which  dry  colors  should  be  applied,  in  case 
they  do  not  "bite"  or  suflaoiently  adhere. 

METHOD  OF  COLORING. 

Though  the  coloring  of  photographs  differs,  in  some 
items,  essentially  from  that  of  miniature  paintings,  yet, 
as  b(.>ch  the  manugement  and  manipulation  of  the  colors 
are  similar,  the  amateur  should,  at  the  outset,  know 
somewhat  of  the  principles  on  which  water  color  painting 
is  based. 

The  operant,  wholly  imacquainted  with  these,  will  be 
surprised  to  leiirn  that,  by  mixing  his  colors  to  the  tint 
desired,  and  then  simply  washing  them  on  to  his  impres- 
sion, he  will  obtain  but  a  meagre  and  unsatisfactory 
result.  There  is  scarce  any  part  of  a  human  facs  so  flat, 
as  to  be  correctly  represented  by  a  simple  wash.  lb  is 
so  full  of  inequalities,  that  the  gradations  of  light  and 
shade  are,  virtually,  numberless;  and  these  gradations 
between  the  high  lights  and  deepest  shadows,  are  named 
"  pearly  tints,"  "demitints,"  or  grays.  In  using  these, 
and  indeed  all  gradations  of  color,  upon  the  local  flesh 
tint,  in  order  to  obtain  transparency  and  depth,  it  is  re- 
quisite to  employ  "hatching,"  or  "stippling." 

Hatching  consists  in  working  on  the  color  in  short 
strokes,  following,  as  closely  as  possible,  the  form  of  the 
features : — for  instance,  the  strokes  nearly  horizontal  on 
the  forehead,  while  circular  about  the  eyes,  mouth,  and 


PRINCIPLES  OF  HARMONIOUS  COLORING.  285 


general  contour.  These  strokes  are  then  crossed  with 
similar  ones,  avoiding,  however,  the  forming  of  direct 
right  angles.  This  should  be  done  with  a  firm  touch, 
making  every  little  stroke  as  even  as  may  be. 

Stippling  is  a  process  somewhat  similar,  save  that  fine 
dots,  with  the  point  of  the  brush,  are  employed  in  place 
of  lines. 

The  eft'ect,  in  either  case,  is  to  impart  depth  and  trans- 
parency, while  also  retaining  greater  purity  of  tint,  than 
could  be  produced  by  any  washing  of  mingled  colors. 

The  amateur  would  profit  at  the  outset,  by  procuring 
a  few  skilfully  composed  and  painted  miniatures,  where- 
of he  should  next  obtain  photographic  copies.  These 
let  him  color,  copying  minutely  the  several  tints  of  the 
originals.  Thus  he  will  learn  what  are  the  various  colors 
used  in  producing,  in  the  original,  the  desired  effect,  and 
what  are  the  modifications  of  these  made  necessary  by 
the  tone  of  his  photograph. 

As  a  general  rule,  warm,  gray-toned  photographs  are 
best  for  coloring ;  that  for  fair  persons,  especially  for 
ladies  and  children,  a  light  impression,  free  from  abrupt, 
heavy  shadows,  but  perfect  in  half-tone  and  definition,  is 
best;  while  for  dark  persons,  especially  for  strongly 
marked  men's  heads,  a  more  vigorous  impression  may 
be  advantageously  employed. 

Let  the  learner  endeavor  to  effect  his  object  by  one 
bold  touch,  rather  than  by  several  hesitating  attempts. 
Nor  let  him  forget,  that,  in  water  colors,  the  first  tints 
should  be  conserved,  pure,  and  brilliant,  as  they  may 
easily  be  lowered,  subsequently,  to  any  tone  required; 
but,  if  once  rendered  dull  or  muddy-looking,  nothing  can 
restore  their  purity. 

We  subjoin  a  few  maxims,  applicable  alike  to  every 
mode  of  coloring,  whether  in  oil,  water,  or  dry  colors. 


286         THE  CAMERA  AND  THE  PENCIL. 

The  substance  of  them  has  been  already  presented,  but 
the  colorist  may  find  it  useful  to  have  them  stored  in 
his  memory,  in  this  epigrammatic  form. 

I.— Flesh,  while  receding  from  the  eye,  appears  to 
grow  colder  in  tone. 

II. — The  edges  of  all  cast  shadows  are  gray. 

III. — The  high  lights  of  flesh  should  be  of  a  yellowish 
white. 

lY. — As  light  is  color,  every  gradation  to  shadow  is  a 
gradation  from  color,  and,  therefore,  the  color  in  shadows 
should  never  be  too  bright. 

Y. — Local  colors  are  found  neither  in  lights  nor  sha- 
dows. 

YI. — Warm  colors  (or  those  approaching  to  orange) 
advance ;  while  cold  colors  (or  those  approximating  to 
blue)  retire. 

YII. — Contrasts  yield  brilliancy  of  effect,  yet  they 
should  never  be  violent  or  inharmonious. 

YIII. — Colors  should  be  laid  on  with  the  least  possi- 
ble rubbing  with  the  brush,  to  preserve  them  fresh  and 
bright. 

IX. — Harshness  should  be  avoided,  and  every  line 
should  be  softened  ;  for  in  nature  there  exist  no  real  out- 
lines, though  the  boundary  of  vision  is  distinctly  marked. 

X. — Let  all  cast  shadows  be  kept  of  a  single  tone,  and 
always  warm  (save  at  the  edges),  varying,  of  course, 
with  the  local  tint. 

XL — Let  reflected  lights  be  kept  warm,  unless  the 
object  they  are  projected  from  be  visible,  then  they  par- 
take of  its  especial  color. 

XII. — Where  the  outline  of  a  figure  is  ungraceful,  it 
may  judiciously  be  hidden,  to  some  extent,  in  the  shadow 
of  the  background. 

XIII. — Massing  together  lights  and  shadows,  will  se- 


PRINCIPLES  OF  HARMONIOUS  COLORING.  287 

cure  breadth  of  grandeur  and  effect.  A  background  will 
greatly  aid  in  this  respect. 

XIV. — Every  portion  of  the  background  should  appear 
to  recede  from  the  figure,  which  should  never  seem  to  be 
cut  in  or  inlaid. 

XY. — Breadth  of  light  and  shade  should  be  properly 
preserved,  or  the  most  careful  manipulation  and  elaborate 
finish  will  be  tame  and  ineffective. 

A  perpetual  reference  to  the  duplicate  photograph, 
will  enable  the  operant  to  preserve  the  likeness  of  his 
picture ;  while  continual  attention  to  these  maxims  will 
enable  him  to  impart  to  it  some  value  as  a  work  of  art. 

TO  PAINT  THE  HEAD. 

The  photograph  being  prepared,  ascertain  whether  it 
be  in  a  condition  to  receive  the  color  by  trying  one  cor- 
ner. If  the  color  be  too  much  absorbed,  another  sizing 
will  be  desirable  ;  but  while  a  slight  absorption  of  the 
color  renders  more  care  necessary,  it  has  the  advantage 
of  enabling  the  artist  to  gain  depth  and  transparency,  by 
working  over  his  previous  painting  without  disturbing 
the  color. 

The  picture  should  be  placed  on  a  small  desk,  the  light 
falling  upon  it  from  the  left  hand.  A  piece  of  clean 
paper  should  be  kept  over  the  lower  part,  whereon  to 
rest  the  hand  while  painting  the  head ;  as,  otherwise,  it 
will  get  greased  with  the  hand  and  with  difficulty  receive 
the  color.  A  duplicate  copy,  clearly  and  strongly  de- 
fined, should  be  ever  near  for  reference. 

Naples  yellow,  with  a  little  madder  pink,  will  be  best 
for  a  general  wash,  the  slight  opacity  having  a  good 
eflect  in  softening  the  harshness  of  the  shadows,  too  com- 
mon in  many  photographs. 


288         THE  CAMERA  AND  THE  PENCIL. 

Commence  by  giving  the  retiring  shadows  of  the  fore- 
head, eyes,  and  mouth,  a  wash  of  gray,  composed  of 
Naples  yellow  and  cobalt,  the  green  or  blue  tint  predom- 
inating, as  the  complexion  is  dark  or  fair.  Next  give  a 
general  wash  of  Naples  yellow  with  a  little  pink  madder. 
While  this  is  drying  the  hair  may  be  colored ;  the  tone 
of  the  picture  materially  modifying  the  choice  of  tints  to 
be  employed. 

The  eyebrows  and  eyelashes  may  now  be  touched,  and 
the  pupil  put  in  with  sepia,  while  the  iris  is  put  in  with 
sepia  and  cobalt,  if  the  eye  be  gray  or  blue,  or  with 
burnt  sienna  if  the  eye  be  dark.  The  lips  should  now 
be  colored  with  vermilion  and  pink  madder,  the  upper 
lip  being  kept  in  shadow.  The  lips  of  children  require 
more  vermilion,  and  of  aged  persons  more  pink  madder. 

The  shadows  around  the  mouth  and  nostrils  may  now 
be  touched  with  brown  madder  and  pink  madder.  Fi- 
nally, heighten  the  general  flesh  tint  by  hatching,  using 
the  color  thin  and  flowing,  while  following  the  form  of 
the  face. 

If  high  finish  be  not  desired,  the  head  might  now  be 
finished  by  enhancing  the  color  on  the  cheek  with  ver- 
milion and  pink  madder. 

These  photographs  are  called  "  tinted"  paintings.  More 
elaborated,  however,  will  often  be  required.  In  such 
case,  proceed  to  wash  in  the  general  tint  of  the  back- 
ground, and  commence  the  draperies  by  giving  them  the 
general  wash  ;  next  heighten  the  color  of  the  cheek  with 
vermilion  and  pink  madder. 

Saich  over  the  shadows  of  the  forehead  with  a  bluish 
gray,  and  with  a  light  tint  of  the  same  hatch  over  the 
receding  cheek,  the  temples,  and  about  the  chin. 

Put  in  the  blue  shadows  beneath  and  at  the  corners 
of  the  mouth,  and  then  stipple  the  socket  of  the  eye  with 


PRINCIPLES  OF  HARMONIOUS  COLORING.  289 


a  cool  green.  The  reflected  lights  may  next  be  warmed 
by  stippling  with  the  flesh  tint ;  finish  the  lips  by  stip 
pling  with  vermilion  and  pink  madder,  making  a  little 
Chinese  white  for  the  high  light,  if  needful.  Touch  the 
edge  of  the  upper  eyelid  with  Indian  red,  and  soften  the 
shaded  side  of  the  iris  with  shadow  color.  The  sclerotic 
or  white  of  the  eye,  in  many  persons  will  require  slightly 
touching  with  cobalt,  and  the  corner  next  the  nose  with 
pink  madder. 

The  hair  may  now  be  finished,  keeping  it  in  mass  to 
avoid  the  efiect  of  wiry  hairs.  Work  on  the  edges  of 
the  hair  and  flesh  with  gray,  to  avoid  the  appearance  of 
the  hair  being  cut  into  the  face. 

The  chief  work  on  the  head  will  now  be  to  give  it 
finish  and  softness,  by  stipjjUng  in  the  grays  and  pearly 
tints,  and  to  impart  spirit  and  character  by  putting  in 
the  deepest  "touches"  about  the  eye  with  sepia  and  pink 
madder,  mixed  with  a  little  dilute  gum  arable,  and  about 
the  mouth  and  nose  with  sepia  and  gum-water.  The 
light  in  the  pupil  of  the  eye  must  be  carefully  put  in  with 
Chinese  white. 

The  neck,  bosom,  hands,  and  arms,  having  been  washed 
with  the  local  tint,  may  now  be  completed.  The  tips  of 
the  knuckles,  fingers,  and  elbows,  may  be  hatched  with 
pink  madder,  and  the  divisions  of  the  fingers  touched 
with  the  same. 

In  finishing  the  draperies  and  background  (the  next 
process),  the  choice  of  colors  must  be  determined  by  the 
complexion  of  the  model. 

Lastly,  go  again  over  the  face  and  give  it  the  finishing 

touches.     The  high  lights  in  the  photograph  should  be 

strictly  preserved  throughout.     If  it  be  a  copy  of  a 

daguerreotype,   &c.,  the  high  lights  may  require  to  be 

imagined  and  strengthened.     A  little  gum- water,  used  in 
19 


290  THE  CAMERA  AND  THE  PENCIL. 

the  deepest  shadows  of  the  hair,  eyes,  &c.,  gives  trans- 
parency, if  required,  and  the  picture  is  completed.  But 
avoid  using  gum-water  too  freely,  especially  in  the  dra- 
peries. 

COLOR  OF  HAIR. 

The  various  colors  of  hair  are  so  numerous,  and  the 
tones  of  photographs  so  varied,  as  to  make  it  impossible 
to  give  any  special  combinations  of  color  for  painting 
hair.     We  may,  however,  present  some  general  hints. 

In  such  heavy  photographs  as  require  it,  some  body 
color  may  be  used.  Chinese  white  or  Naples  yellow 
added  to  the  color,  for  lights,  will  answer. 

Flaxen  Hair. — The  lights  may  be  made  with  Roman 
ochre,  and  the  shadows  are  often  greenish. 

Auburn  and  Chestnut  Hair. — The  lights  should  be  neu- 
tral, inclining  to  purple;  the  local  color  burnt  umber, 
and  the  shadows  glazed  with  lake. 

Bright  Red  Hair. — Hair  of  this  color  should  usually 
be  somewhat  subdued.  Roman  ochre  may  be  used  for 
the  lights ;  for  the  local  color  Venetian  red,  and  sepia, 
or  burnt  Sienna.     Shadow  with  sepia  and  lake. 

Dark  Broivn  Hair. — Lights,  purple;  local  color,  sepia; 
shadows,  warm. 

Raven  Black  Hair. — Lights,  neutral ;  local  color,  indi- 
go, lake,  and  gamboge,  in  requisite  proportions. 

Gray  Hair. — Cobalt  and  sepia,  properly  modified  with 
neutral  tint  and  umber. 

DRAPERIES. 

"We  have  before  remarked  that,  in  portrait  painting, 
certain  colors,  inherent  in  the  model,  must  be  rendered 
accurately,  by  being  colored  with  the  utmost  fidelity, 
while  the  management  of  others  is  very  much  under  the 


I 


PRINCIPLES  OF  HARMONIOUS  COLORING.  291 

operant's  control,  and  by  their  judicious  arrangement,  he 
gives  to  the  essential  colors  their  utmost  value,  while 
preserving  the  harmony  and  keeping  of  his  picture. 
Under  this  head,  comes  the  management  of  draperies. 
We  here  refer  the  operant  to  the  previous  statement 
of  the  principles  on  which  is  based  the  harmony  of 
color. 

Blue  is  somewhat  troublesome  for  the  artist,  as  such  a 
mass  of  cold  color  makes  it  requisite  to  introduce  some- 
thing warm  to  conserve  the  harmony  of  the  picture.  In 
painting,  use  cobalt  for  the  lights,  and  French  blue  and 
lake  for  the  shadows. 

Yellow. — All  positive  colors,  in  any  mass,  should  be 
avoided,  or  used  with  subdued  brilliancy. 

Hed. — Whether  vermilion,  carmine,  or  lake  be  used, 
sepia  and  lake,  in  modified  combinations,  will  make  a 
good  shadow  color. 

For  uniforms,  a  most  brilliant  scarlet  is  produced  by 
first  washing  with  cadmium  yellow,  and  when  this  is 
dry,  using  vermilion  over  it,  and  shadow  with  carmine 
and  sepia. 

Purples,  greens,  orange,  and  all  compound  tints,  are 
produced  by  the  mixture  of  some  of  the  primaries. 
Practice  must  enable  the  operant  to  select  the  most 
appropriate  for  the  moment. 

White. — Chinese  white  is  the  most  useful  and  durable. 
The  middle  tints  may  be  made  of  cobalt  and  Indian  red, 
and  the  shadows  of  sepia. 

Black. — Sepia,  indigo,  and  lake ;  or  gamboge  with  the 
latter  two  make  a  good  transparent  black  for  silks,  &c. 

Gold  Ornaments. — May  be  touched  with  Roman  ochre, 
the  lights  with  Chinese  white  and  chrome  or  Naples  yel- 
low, and  the  shadows  with  burnt  umber. 

Cloth  Fabrics. — These,  unlike  silks,  are  often  painted 


292         THE  CAMERA  AND  THE  PENCIL. 

in  opaque  colors ;  and  then  it  is  best  to  partially  cover 
the  photograph  with  the  local  color,  and  paint  the  lights 
and  shadows  upon  it. 

The  deep  shadows  of  all  draperies  are  improved  by- 
adding  a  little  gum-water,  which,  however,  should  be 
used  sparingly. 

BACKGROUNDS. 

These  should  be  devoted  to  repose,  and  should  never 
be  so  painted,  as  to  distract  attention  from  the  principal 
figure.     The  fewer  objects  here  introduced,  the  better. 

When  white  spots  occur  in  the  background,  they 
should  be  touched  with  a  somewhat  deeper  tint  of  the 
local  color,  which  is  commonly  lampblack  or  sepia. 

VIGNETTE  PHOTOGRAPH. 

This  is  a  pleasing  style  of  photograph,  not  requiring 
the  same  degree  of  finish  as  others,  but  looks  very  well 
when  tinted  as  before  described. 

GELATINIZING  POSITIVES. 

As  especially  applicable  to  stereoscopic  photographs, 
and  partially,  to  paper  positives  generally,  it  may  be 
well  to  describe  a  mode  of  coating  pictures  with  gelatine, 
successfully  practised  in  France,  and  excelling  all  other 
varnishes  in  its  results. 

To  20  grs.  of  the  purest  gelatine  (Italian  gelatine  is 
the  best,  and  isinglass  will  not  answer),  add  1  oz.  of  cold 
water,  and  put  it  near  a  fire  till  dissolved,  and  then 
strain  it  through  muslin.  Take  a  proper-sized  piece  of 
well-polished  plate-glass,  free  from  imperfections,  and 
after  cleaning  it  thoroughly  and  drying,  sponge  it  over 


PRINCIPLES  OF  HARMONIOUS  COLORING.  293 


with  prepared  ox-gall.  Before  the  gall  is  dry,  cover  the 
plate  with  a  hot  solution  of  gelatine,  and  put  it  away  to 
set  where  it  will  be  free  from  dust. 

When  the  gelatine  is  sufficiently  set,  lay  the  picture 
gently  upon  it,  face  downwards,  pressing  it  and  taking 
care  to  avoid  air-bubbles ;  then  leave  it  some  hours  to 
harden  thoroughly.  When  the  gelatine  is  perfectly  dry, 
a  penknife,  run  round  the  edge  of  the  picture,  will  readily 
separate  it  from  the  glass,  and  present  a  highly  polished 
surface,  exhibiting  the  smallest  detail  with  the  greatest 
delicacy  and  beauty. 

MEZZOTINT  PHOTOGRAPHS. 

Touching  up  paper  prints  in  light  and  shade,  chiefly 
requires  care  and  some  knowledge  of  drawing.  The 
colors  to  be  used  must  somewhat  depend  on  the  tone  of 
the  photograph.  Indian  ink  plain  or  tinted  is  generally 
pleasing, 

GENERAL  REMARKS. 

In  ©oncluding  these  remarks  on  painting  in  water 
colors,  we  repeat,  that  they  are  merely  suggestive,  and 
will  require  continual  modifying  to  suit  the  complexions 
to  be  imitated,  and  the  tone  of  the  photograph  to  be  col- 
ored. A  right  method  of  coloring  is  the  main  considera- 
tion. 

PHOTOGRAPHIC  COLORS. — POWDER. 

Dry  colors  are  used  for  coloring  positives  on  glass, 
silver  plate,  or  albuminized  paper.  They  are  employed 
in  the  state  of  an  impalpable  powder,  and  are  so  pre- 
pared, as  to  adhere  to  the  surface  of  the  picture  by  the 
simplest  manipulation. 

Newman's  colors,  after  a  large  and  varied  experience, 


294  THE  CAMERA  AND  THE  PENCIL. 

we  pronounce  incomparably  better  than  any  other  we  are 
acquainted  with.  They  are  also  the  cheapest,  as  well  as 
the  best  in  vogue. 

VAENISH. 

A  varnish  for  glass  positives,  to  give  the  operant  the 
greatest  facilities,  and  present,  when  completed,  the  most 
artistic  effect,  should  not  (as  has  been  thought  by  many, 
both  manufacturers  and  photographers)  exhibit  a  hard, 
glassy  surface,  from  which  the  colors  must  blow  like 
dust ;  but  a  surface  which,  while  free  from  tackiness, 
should  present  a  tooth  to  the  color.  On  such  a  surface 
the  dry  colors  will  adhere  like  crayons.  A  varnish,  of 
such  properties,  has  lately  been  introduced  by  Mr  New- 
man, and  sold  by  American  stock  dealers. 

METHOD  OF  COLORING. 

The  method  of  coloring  is  nearly  the  same,  whether  on 
daguerreotypes,  glass  positives,  or  positives  on  paper. 
The  first  of  these  are  colored  exactly  like  glass  positives, 
ind  not  usually  being  varnished,  when  once  colored 
throughout,  they  are  finished. 

Our  own  method  of  dealing  with  the  glass  positive  is 
to  color  first  on  the  collodion  surface.  Commence  on 
the  forehead,  using  flesh  No.  1. 

.Having,  with  No.  1  flesh,  colored  the  lights  of  the 
forehead,  next,  with  No.  2  flesh,  fair  or  dark,  begin  on 
the  lights  of  the  cheeks,  softening  into  the  shadows,  and 
joining  the  high  lights  already  colored.  Speaking  gen- 
<grally,  fleshes,  reds,  greens,  and  yellows,  may  be  advan- 
tageously employed;  while  browns,  purples,  light  blue, 
and  some  other  colors  are  best  till  after  varnishing. 

The  first  coloring  finished,  carefully  blow  away  every 


PRINCIPLES  OF  HARMONIOUS  COLORING.  295 

particle  of  color,  whicli  has  not  adhered  to  the  surface, 
as  it  will  else  run  with  the  varnish.  Let  the  varnish 
be  now  flooded  on,  as  collodion  is,  with  like  care  to 
insure  an  even  coating,  and  drained  off  at  one  corner. 
The  former  objection  to  dry  colors,  their  tendency  to 
fade,  is  here  obviated  by  the  varnish  combining  with 
the  color  on  the  plate,  and  making  a  coating  like  that 
of  oil  paint. 

In  the  second  and  last  coloring,  the  high  lights  should 
be  touched  with  No.  1  flesh,  the  local  tint  with  No.  2 
flesh,  and  the  cheeks  heightened  with  Nos.  1  or  2  com- 
plexion. 

In  the  backgrounds  almost  every  color  may  be  used, 
though  various  combinations  of  the  grays,  greens,  browns, 
and  purples  are  most  useful. 

Positives  on  glass,  produced  by  the  "Alabastrine  pro- 
cess," may  effect  finer  results  with  dry  colors,  than  can 
be  obtained  on  any  other  species  of  glass  picture.  The 
picture  is  varnished  before  beginning  to  color ;  we  then 
proceed  as  in  the  second  coloring  above,  using  tints  sim- 
ilar to  those  prescribed  for  water  colors. 

Positives  on  albumenized  paper  or  on  salted  paper, 
sized  with  its  appropriate  preparations,  may  be  colored 
in  the  same  way,  though,  as  a  rule,  the  latter  should  be 
colored  in  oil  and  water  colors. 

ENLARGED  PICTURES ;   COLORING  IN  CRAYONS. 

Since  the  introduction  of  the  Solar  Camera,  life-size 
and  other  enlarged  photographs  have  begun  to  excite 
popular  attention.  These  pictures,  from  causes  both  in- 
herent and  incidental,  require,  more  than  any  other  pho- 
tographs, some  aid  from  the  artist's  touch. 

The  nearer  the  picture  approaches  the  life-size,  the 


296         THE  CAMEEA  AND  THE  PENCIL. 

more  palpably  is  felt  the  need  of  the  hues  of  life,  and 
thus  the  colorist's  aid  becomes  imperative. 

To  meet  either  the  want  of  color  or  of  finish,  nothing, 
Derhaps,  is  more  suitable,  than  the  employment  of  col- 
ored crayons,  or  black  and  white  chalk.  We  shall, 
therefore,  give  a  few  suggestions  as  to  the  mode  of  using 
these. 

PREPAEATION  o:F  THE  PHOTOGRAPH. 

Enlarged  portraits,  by  the  solar  camera,  are  common- 
ly, in  this  country,  produced  by  the  process  of  develop- 
ment-printing, and  therefore  are  on  plain  paper,  without 
an  albumeji  surface.  Any  kind  of  paper,  with  a  surface 
somewhat  rough,  which  will  present  a  tooth  to  the  chalk, 
will  answer. 

Should  the  surface,  when  tried,  fail  to  "bite"  suffi- 
ciently, rub  it  with  pumice  or  sepia  powder,  till  a  proper 
surface  is  obtained.  A  surface,  in  imitation  of  the  pumice 
paper  prepared  for  pastel  painting,  is  produced  by  ap- 
plying to  the  paper  a  warm  solution  of  isinglass,  and 
then  dusting,  through  a  sieve,  pumice  or  cuttle  fisb  pow- 
der, till  an  even  surface  is  obtained,  which,  on  drying, 
presents  an  excellent  tooth.  This  treatment  is  suitable 
only  for  pictures,  which  are  to  be  finished  in  colored 
pastels.  In  most  cases,  drawing  paper,  especially  after 
the  size  is  removed  by  a  final  wash  in  hot  water,  will 
serve  every  purpose. 

FINISHING  IN  MEZZOTINT. 

Prints,  developed  on  plain  paper,  have  generally  a 
somewhat  unfinished  effect,  which  may,  however,  by  a  few 
skilful  touches,  be  wholly  removed.  The  crayon  tint  to 
be  used  will  depend  on  the  tone  of  the  picture,  and  will 


PRINCIPLES  OF  HARMONIOUS  COLORING. 


297 


consist  of  black,  grays,  browns,  purples,  and  wbite ;  the 
last  to  be  sparingly  used  in  putti'ag  in  such  high  lights 
as  those  in  the  eyes,  &c. 

COLORING  IN  PASTELS. 

To  color  in  pastels  requires  considerable  skill  and 
knowledge  of  drawing ;  but,  if  well  done,  no  coloring  is 
more  effective  or  suitable  for  finishing  life-size  photo- 
graphs. 

It  is  best  beginning  with  the  face,  and  the  tints  here 
used  will  be  like  those  described  in  the  instructions  for 
water  and  oil  colors.  The  face  being  first  colored,  and 
the  color  blended,  great  brilliancy  may  be  secured  by 
hatching  over  the  features  with  tints  of  the  same  scale,  but 
in  a  higher  key.  Great  care  only  will  keep  the  picture 
from  being  cold  and  chalky  on  the  one  hand,  or  raw  and 
red  on  the  other.  The  works  of  M.  Louis  Gratia  supply 
the  finest  possible  models  for  the  imitation  of  the  student. 

The  best  mode  of  preserving  the  picture  is  to  place  a 
glass  at  the  back  as  well  as  the  front  of  the  canvas,  as 
this  will  fully  protect  the  colors  from  injury. 

COLORING  IN  OIL. 

The  photographer,  who  would  color  his  productions 
artistically,  should  possess  a  knowledge  of  drawing. 
Some  colorists  have  given  the  palm  to  water  colors,  for 
the  inadequate  reason,  that  the  use  of  oil  requires  an 
artist's  experience  and  skill.  If,  however,  the  water  color 
advocates  rightly  judge  that  the  use  of  oil  demands 
greater  ability  and  skill,  their  argument  must  assuredly 
recommend  oil  colors,  as,  in  their  use,  they  guarantee 
the  talent  and  competency  of  the  colorist.  To  the  writer 
(long  experienced  in  the  use  of  both  oil  and  water  colors), 


298  THE  CAMEEA  AND  THE  PENCIL. 

it  seems  that,  in  either  art,  the  persons  possessing  the 
highest  degree  of  artistic  merit  will  best  succeed;  and 
that  it  is  no  less  easy  to  do  a  little  in  the  one  than  in  the 
other. 

To  prepare  the  photograph,  mount  it  free  from  dust, 
coat  it  carefully  with  "Newman's  preparation,"  (of  which 
two  applications  will  sometimes  be  requisite,)  and  let  it 
be  rolled  bj  some  hot  presser. 

The  operant  will  require  nut  oil  and  poppy  oil,  var- 
nishes, brushes,  palette,  rest  stick  and  palette  knife,  to- 
gether with  the  following  colors,  which  should  be  gotten 
ready  prepared,  viz.,  white,  Naples  yellow,  yellow  ochre, 
raw  sienna,  burnt  sienna,  light  red,  extract  of  vermilion, 
vermilion,  pink  madder,  crimson  lake,  &c.,  &c.  Procure 
also  a  megilp  tube,  and  some  sugar  of  lead;  the  one  as 
vehicle,  the  other  to  aid  colors  that  are  bad  driers. 

The  student,  who  mixes  observantly  the  tints  above 
named,  will  at  once  perceive  their  uses  in  the  various 
stages  of  his  work ;  and  his  practice  will  suggest  all  the 
modifications  which  his  model  may  demand. 

PAINTING-  THE  PHOTOGRAPH. 

Employ  sufficient  megilp  with  your  colors  to  make 
them  thin  and  transparent;  but  let  the  lights  be  opaque 
and  well  coated  with  color. 

Consider  carefully  the  gradations  of  tint  by  which  the 
hair  and  flesh  are  softened  into  each  other,  and  note  the 
shadows  cast  by  raised  or  over-falling  locks,  &c. 

Use  gray  and  shadow  tints  to  blend  the  hair  and  the 
flesh. 

Black  coats  are  first  glazed  with  a  warm,  transparent 
black,  into  which  paint  the  lights  with  different  tints  of 


PRINCIPLES  OF  HARMONIOUS  COLORING.  299 

black  and  white,  strengthening  the  shadows  with  Van- 
dyke brown  and  a  little  lake  and  bitumen. 

All  draperies  may  be  treated  as  recommended  in  tbe 
case  of  a  black  coat. 

COLORS  FOR  HAIR. 

Light  Hair  may  be  made  with  Vandyke  brown  and 
ochre,  with  raw  umber  for  the  shadows  ;  the  same  for  the 
local  tint,  and  the  same,  mixed  with  Naples  yellow,  for 
the  lights ;  the  grays  are  identical  with  those  used  for 
the  flesh. 

Dark  Hair. — Use  a  little  black  with  some  Vandyke 
brown  and  lake ;  for  black  hair  use  a  larger  proportion 
of  warm  black.  Bitumen  is  useful  in  this  part  of  the 
work,  as  also  is  brown  madder,  mingled  with  French 
blue.  In  painting  hair,  preserve  carefully  the  grays  or 
half-tones. 

SECOND  PAINTING. 

When  the  first  paintiog  is  perfectly  dry,  soften  the 
work  by  passing  over  it  a  brush  charged  with  poppy  oil, 
and  rub  in  the  oil,  with  a  piece  of  soft  leather.  Glaze  the 
entire  face  with  a  proper  tint ;  repaint  the  shadows  with 
transparent  colors ;  strengthen  and  brighten  the  lights ; 
improve  the  blues,  greens,  and  grays  of  the  flesh,  and 
soften  the  lines ;  repaint  the  background,  and  blend  its 
tint  with  a  clean,  soft  brush ;  strengthen  the  folds  of 
draperies ;  employ  glazing  tints  wherever  practicable ; 
and  preserve  the  colors  warm,  clear,  and  bright. 

THIRD  PAINTING. 

The  second  painting  having  dried,  complete  the  pic- 
ture with  transparent  touches  and  markings,  to  strength- 


300  THE  CAMEEA  AND  THE  PENCIL. 

en  the  shadows,  force  the  lights,  and  secure  a  masterly 
and  artistic  style  of  finish.  When  this  is  thoroughly 
dry,  the  picture  is  ready  for  varnishing. 

Those,  who  cannot  draw,  should  use  their  colors  well- 
thinned  with  megilp,  to  preserve  their  transparency. 
And  they,  who  can  draw,  should  not,  conceitedly,  neglect 
that  care  to  preserve  the  life-like  truthfulness  of  the 
picture,  without  which  it  is  impossible  to  succeed  in  pho- 
tographic coloring. 

PORTEAITUEE. 

The  class  of  photographic  portraits,  chiefly  in  favor  at 
the  present  day,  and  known  as  Cartes  de  Visite,  or  album 
portraits,  make  larger  requisitions  on  the  operant's  know- 
ledge of  art,  with  its  principles  in  regard  to  composition 
and  arrangement,  than  any  other  phase  of  photography 
has  hitherto  done. 

It  should,  at  the  outset,  be  remembered,  that  the  mere 
delineation  of  an  object,  or  the  mere  production  of  a 
likeness,  does  not  constitute  a  picture.  To  constitute  a 
good  portrait,  and,  at  the  same  time,  to  produce  a  pleas- 
ing picture,  the  original  should  be  represented  under 
such  circumstances  of  position,  arrangement,  light  and 
shade,  and  accessories,  as  shall  suggest  character,  while 
also  conducing  to  pictorial  effect. 

One  of  the  first  considerations,  in  connection  with  por- 
traiture, and  especially  where  the  full-length  figure  is 
shown,  will  be  as  to  position.  This  has  much  to  do  with 
the  expression  of  character,  as  well  as  pictorial  efiect. 

The  figure  should  rarely,  if  ever,  be  in  the  middle  of  a 
picture,  or  equidistant  from  each  side ;  nothing  is  more 
destructive  of  pictorial  efiect,  than  such  a  position. 
Generally,  more  space  should  be  in  front  of  the  figure 


PKIJSrCIPLES  OF  HARMONIOUS  COLORING.  301 

than  behind.  If  the  figure  be  placed  equidistant  from 
the  top  and  bottom  of  the  piptnre,  it  is  still  more  destruc- 
tive of  pictorial  effect  and  suggestive  verity,  than  if  equi- 
distant from  the  sides.  The  distance  from  the  top  and 
bottom  is  the  chief  means  of  suggesting  the  height  of  the 
figures.  The  higher  the  head  is  towards  the  top  of  the 
picture,  the  taller  will  the  figure  appear;  and  the  wider 
the  space  overhead,  the  shorter  will  be  the  appearance 
of  the  model. 

Not  less  important  than  position,  is  a  purpose  in  such 
position.  It  is  not  meant  by  this,  that  the  sitter  should 
always  be  engaged  in  some  occupation,  but  care  should 
be  taken  to  avoid  the  appearance  of  total  vacancy,  or  of 
the  self-consciousness  of  having  a  portrait  taken. 

As  regards  composition,  the  greater  the  simplicity  the 
better  will  be  the  result. 

It  is,  moreover,  desirable  that  the  heaviest  part  of  the 
picture,  alike  in  form  and  color,  should  be  at  the  base. 

Contrast,  in  both  lines  and  tones,  is  an  important 
element  in  pictorial  effect.  These,  however,  should  never 
be  harsh  or  violent,  as  these  properties  destroy  one  of  the 
most  important  requisites  in  a  picture,  breadth. 

An  essential  element,  in  securing  a  harmonious  con- 
trast of  tones,  is  the  judicious  lighting  of  the  model.  A 
direct  front  light  should  be  avoided,  as  destructive  of  all 
relief.  Let  the  light  fall  on  the  model  at  an  angle  of 
about  45°  ;  direct  vertical  light  should  be  avoided,  while 
side  light  may  be  used  freely. 

In  grouping  for  portraiture,  small  portraits  admit  the 
exercise  of  considerable  discretion,  and  make  the  task  ■ 
less  difficult  than  in  larger  photographic  groups ;  fewer 
accessories  being  requisite  for  the  purposes  of  composi- 
tion. 


302  THE  CAMERA  AND  THE  PENCIL. 


CONCLUDING  EEMARKS. 

The  general  principles  of  coloring  have  sometimes 
been  reiterated  in  the  directions  for  different  kinds  of 
coloring.  Where  reiteration  has  been  avoided,  it  should 
be  remembered,  that  the  instructions  for  one  style  of 
coloring  will  often  be  found  to  comprise  hints  applying 
equally  to  all  styles.  Bearing  this  in  mind,  it  will 
appear,  it  is  thought,  that  nothing  essential,  which  could 
aid  the  amateur  in  gaining  a  practical  acquaintance  with 
the  subject,  has  been  omitted  in  this  chapter. 

PICTUKE  FEAMES. 

Oil  pictures  require  gilt  frames,  unless  the  pictures  have  in  them  much 
yellow,  in  which  case  the  contrast  "  kills"  the  painting.  Ebony,  or  oak,  or 
black  walnut  must  never  be  used,  if  there  is  much  brown  in  the  picture. 

Gilt  frames  are  too  bright  for  the  ordinary  run  of  water  colors,  unless  a  strip 
of  white,  more  or  less  wide,  intervenes  between  the  painting  and  the  frame. 
Water  colors,  however,  sometimes  look  well  in  a  narrow  gilt  frame,  provided 
such  frame  be  little  more  than  a  plain  fillet,  and  the  prevailing  tone  of  the 
drawing  be  dark,  with  much  brown.  Lithographs  and  engravings  require  the 
same  treatment  as  water  colors. 

The  simple  rule,  then,  is  that  the  frame  should  "bring  up"  the  picture,  and 
not  "kill"  it  by  its  higher  brilliancy.  A  wall  of  paint  or  paper  in  olive -gray  or 
pale-gray  is  the  best  possible,  as  its  mass  in  some  degree  neutralizes  the  gilt 
frame,  and  thus  tends  to  set  oflF  the  pictures. 

In  very  large  pictures  a  gilt  frame  is  almost  a  necessity.  It  is  only  in  cases 
of  smaller  cabinet  pictures  that  the  gold  is  too  bright.  The  best  method  of 
showing  a  picture  is  one,  that  is  impracticable  in  ordinary  rooms  and  galleries. 
For  it  should  be  surrounded  by  neutral  hangings,  and  be  illumined  by  its  own 
peculiar  light,  and  not  by  that,  in  which  the  spectator  stands,  and  be  viewed 
through  an  opening,  as  in  a  diorama.  Then  the  work  of  the  painter's  pencil 
becomes  almost  as  animated  as  is  Nature's  self. 


Note. — It  is  found,  singular  as  it  may  appear,  that  the  gilding  on  a  broad 
frame  draws  the  eye  away  from  the  picture  less,  when  completely  covered 
with  small  ornamentation,  than  when  it  is  plain.  The  flat  surface  glares 
more,  than  a  surface  subdivided  and  broken  up,  though  the  latter  may  be  the 
richer. 


CHAPTEE  XXYIL 

PORTRAITS — SEVERAL  VARIOUS  MODES  OF  PRODUCING  OR 
FINISHING  PERMANENT  SOLAR  IMPRESSIONS. 

The  Ivorytype,  a  picture  printed  through  a  negative  on  artificial  ivory,  intro- 
duced in  England,  by  Mayall  of  London ;  also  a  photograph,  colored  and 
sealed  upon  plate-glass,  called  the  "Ivorytype,"  introduced  in  the  United 
States  by  Wenderoth,  1855. 

The  Alabastrine,  a  positive  upon  glass,  colored  on  the  back  of  the  film,  and 
finished  with  a  solution  invented  by  Wharton  Simpson,  called  his  rede- 
veloper.     For  sale  by  E.  &  T.  H.  Anthony,  New  York. 

The  Diaphanotype,  a  good  photograph,  cemented  to  glass  and  painted  on  the 
back  in  oil  colors. 

The  Hallotype  and  its  variations,  are  pictures,  made  on  a  similar  principle 
with  the  above,  finished  in  either  water  or  oil  colors,  or  both,  on  back  and 
*"ront.  The  two  last  named  are  said  to  be  mere  applications  of  Grecian  or 
Oriental  painting  to  photography. 

The  Melainotype,  a  positive  collodion  picture  made  upon  japanned  iron 
plates. 

The  Sphereotype,  simply  a  collodion  positive  on  glass,  with  certain  peculiari- 
ties in  the  method  of  making  and  mounting  the  picture. 

The  Crayon,  or  Spherical  Vignette  Daguerreotype,  a  picture  representing 
the  head  and  bust,  made  spherical  by  pressing  it  over  a  convex  glass  paper- 
weight, or  other  oval  surface,  and  cased  with  a  convex  glass  over  the  impres- 
sion. 

The  Hillotype. — Having  learned,  that  I,  as  well  as  others,  was  misled  in 
regard  to  the  mode  in  which  these  pictures  were  made,  I  feel  that  the 
explanation,  given  below,  is  due  to  the  public. 

IVORYTYPES — OR,  PHOTOGRAPHS  ON  ARTIFICIAL  IVORY. 

This  is  an  invention  of  the  distinguished  heliographer, 
J.  E.  Mayall,  of  Eegent  Street,  London.  These  pictures 
are  declared,  by  English  writers  on  sun-painting,  to  com- 
bine the  merits  of  the  daguerreotype  and  the  photograph, 
exhibiting  the  delicacies  of  outline  and  the  beautiful 
middle  tints  of  the  former,   devoid  of  the  unpleasant 

(303) 


304  THE  CAMERA  AND  THE  PENCIL. 

glare  whicli  so  intercepts  its  effects,  and  the  accuracy  and 
distinctness  of  the  latter  without  its  attendant  deficiencies. 

They  are  taken  upon  a  species  of  artificial  ivory,  pos- 
sessing all  the  excellencies  of  the  real  substance  without 
its  eiefects.  This  imitation  is  a  compound  of  barytes  and 
vegetable  albumen,  which,  kneaded  together  and  rolled 
into  sheets,  is  permitted  to  dry,  and  is  then  submitted  to 
a  polishing  process,  whereby  a  surface  of  the  smoothest 
texture  and  purest  ivory  color  is  obtained,  constituting 
an  admirable  recipient  for  the  image,  as  a  basis  for  the 
artist's  operations. 

Plates  of  this  material  are  manufactured  expressly  for 
photographs,  to  be  colored  in  imitation  of  miniatures 
upon  ivory,  and  may  be  procured  at  Eisler  Heilman's 
Photographic  Depot,  Paris,  France. 

The  process  of  printing  must  be  performed  wholly  by 
tiraing,  as  it  cannot  be  inspected  while  going  forward. 
Two  or  three  trials  will  determine  the  amount  of  time 
required.  A  good,  vigorous  negative  is  best  for  print- 
ing on  artificial  ivory.  (See  chapter  on  printing  on 
ivory,  wood,  linen,  silk,  &c.     Second  part.) 

I  have  elsewhere  remarked,  that  connoisseurs  and 
writers  on  art  have  been  accustomed  to  pronounce  helio- 
graphy  a  mere  mechanical  operation;  as  incapable  of 
attaining  a  higher  rank  than  that  of  being  a  faithful 
copyist — a  literal  transcriber.  Since  the  appearance  of 
this  invention,  we  perceive  the  tone  of  the  critics  to  be 
changing.  The  following  is  a  single  brief  exemplification 
of  this  change:  "  Photograiphy,^''  says  an  able  writer,  ^'has 
never  trod  so  closely  on  the  footsteps  of  the  painter'' s  art,  as  in 
the  pictures  on  Mr.  MayalVs  new  patent  'material^'' 

Another  writer  says:  "It  is  not  a  little  curious  that 
the  salt,  by  which  the  sensitiveness  of  this  artificial  ivory 
to  the  photographic  image  is  produced,  is  one,  the  very 
existence  of  which  is  denied  by  many  English  chemists.' 


THE  AMEEICAN  IVOEYTYPE.  305 


THE  AMEBIC  AN  IVOEYTYPE. 

This  picture  was  recently  invented  and  introduced  by 
Wenderoth,  It  is  a  colored  photograph,  finished  so  as 
to  resemble  a  miniature  or  portrait  on  ivory. 

The  mode  of  making  it: — Select  a  vigorous,  clearly 
defined  impression,  with  margin  enough  to  allow  for 
mounting  upon  the  painter's  stretcher  or  painting-board. 
Dampen  the  print  with  a  sponge  dipped  in  clear  water ; 
then  paste  its  edges  upon  the  stretcher,  and,  with  a  clean 
paper  over  its  face,  rub  the  print  down  smoothly.  When 
dry,  it  will  be  tight  and  firm  for  the  artist  to  operate  upon. 

Or  mount  it  upon  a  sheet  of  glass,  with  its  edges  ground 
to  hold  the  paste. 

The  photograph  is  now  colored  upon  the  face,  as  a 
miniature,  with  permanent  colors ;  but  colors  much 
stronger  than  are  commonly  employed  on  surface-paint- 
ing, as  the  manner  of  mounting  the  completed  pictures 
upon  plate-glass  has  the  effect  to  lower  the  tone  of  the 
colors  used. 

As  transparent  colors  are  reduced,  or  lose  considerably 
in  tone  by  the  mode  of  mounting,  they  should  be  painted- 
in  much  more  strongly  than  for  surface-painting ;  while 
the  body-colors  should  be  kept  down  or  reduced  in  tone, 
since  they  are  heightened,  or  made  more  brilliant  and 
vigorous  by  the  manner  of  mounting. 

The  colored  print  is  now  mounted  on  a  perfectly  clean 
sheet  of  plate-glass,  face  downward,  as  follows :  melt 
bleached,  pure  white  wax,  and  while  hot,  pour  it  upon 
the  glass  plate,  which  is  also  made  and  kept  hot  on  a 
steel  or  iron  plate,  or  a  soapstone  slab,  under  which  one 
or  two  spirit  lamps  are  continuously  burning.  While 
the  wax  is  quite  liquid,  take  the  print  by  the  ends,  spring 
it  in  the  middle,  and  lower  it  gently  into  the  heated  wax, 
20 


306  THE  CAMERA  AND  THE  PENCIL. 


carefully  pressing  from  the  middle  outward  both  parts 
of  it  down  into  the  wax,  and  then  with  a  strait-edged 
paper-folder,  of  ivory,  or  bone,  or  some  similar  article 
suited  to  the  purpose,  press  and  work  out  all  the  air- 
bubbles  and  superfluous  wax.  This  operation  must,  of 
course,  be  executed  while  the  plate  is  quite  warm. 

The  paper-folder  should  be  carefully  rubbed  from  one 
extremity  of  the  print  to  the  other  without  lifting  it 
therefrom,  or  suspending  the  process,  as  a  mark  would 
thus  be  left  on  the  picture,  which  will  be  thoroughly 
saturated  with  wax,  and  which,  if  properly  handled,  will 
be  transparent,  smooth,  and  beautiful. 

Some  artists  use  a  compound  of  one  part  gum  dem  mar 
to  eight  parts  wax ;  or  Canada  balsam  and  wax ;  or  gum 
elmer  and  wax ;  same  proportion  of  one  to  eight  parts 
of  wax.  Others  use  a  larger  proportion  of  the  gum- 
varnishes. 

Finally  the  picture  is  finished,  by  placing  upon  its 
back  and  firmly  sealing  to  the  glass  a  clean  sheet  of  white 
paper  or  card-board ;  with  a  card-board  border  or  mat 
oetween  the  picture  and  the  paper,  and  with  small  lumps 
of  hard  wax  stuck  upon  the  dark  or  opaque  parts  of  the 
picture,  so  arranged  as  to  keep  them  about  y'gth  or  ^'^th 
of  an  inch  asunder.  This  distance  must  be  determined 
by  the  effect  or  appearance  produced,  and  regulated  by 
the  judgment  of  the  artist,  when  the  picture  is  ready  for 
the  frame.  Sometimes  a  duplicate  tinted  print  of  the  face 
is  placed  behind,  to  give  more  color  or  vigor. 

To  produce  this  picture  in  its  perfection  requires  the 
highest  degree  of  artistic  skill. 

THE  ALABASTRINE  PROCESS. 

r  By  AVharton  Simpson, 

\  Editor  of  the  Photographic  News. 

Pictures,  by  this  process,  are  taken  upon  a  surface  of 


THE  ALABASTEINE.  307 

polislied  glass.  The  shadows  are  of  purple  velvet,  put 
behind  the  glass  and  showing  through  it.  The  lights  are 
produced  bj  calomel,  a  purely  white  chloride  of  mercury, 
an  excellent  material  for  the  purpose,  when  spread  upon 
such  a  background. 

The  picture  is  colored  as  a  miniature ;  not,  hgwever, 
with  colors  applied  to  the  front,  as  in  other  processes, 
but  to  the  hack  of  the  film,  so  as  to  show  through,  without 
hiding  any  of  the  beautiful  details  of  the  photograph. 

Frederic  Scott  Archer,  who  first  applied  collodion  to 
photography,  discovered  the  means  of  whitening  collo- 
dion positives  with  bichloride  of  mercury.  This  deposit, 
however,  is  too  opaque,  and  has  a  ghastly  appearance. 
This  defect  has  been  remedied  by  the  alabastrine  solution 
discovered  by  Mr.  Wharton  Simpson.  This  solution 
modifies  the  action  of  the  bichloride,  and  causes  it  to 
form  a  thinner  precipitate,  of  an  alabastrine  or  pearly 
whiteness.  Mr.  Simpson  has  also  discovered  a  varnish 
that  does  not  discolor  the  whites  of  the  picture ;  and  still 
further,  a  penetrating  varnish,  by  means  of  which  the 
colors,  put  upon  the  back  of  the  film,  are  made  to  show 
through  without  hiding  any  of  the  details.  As  a  con- 
sequence of  these  improvements,  this  process  is  pro- 
nounced, by  not  a  few  good  judges,  the  best,  for  portrai- 
ture, now  existing.  For  smoothness  of  surface,  delicacy 
of  detail,  and  artistic  beauty  of  effect,  there  is  nothing 
comparable  with  it. 

Nor  is  the  manipulation  at  all  difficult,  since  you  have 
only  to  take  a  good  collodion  positive,  fix  and  wash  it, 
then  place  it  upon  a  levelling  stand,  and  pour  over  it  a 
little  of  the  solution  in  question.  In  about  one  hour  the 
re-development  is  complete,  and  the  dull  lights  of  the 
positive  are  changed  into  the  whiteness  of  pearl. 

The  alabastrine  solution  may  be  procured  of  the  stock 


308  THE  CAMERA  AND  THE  PENCIL. 

dealers  generally.  It  requires  no  special  directions  for  its 
application,  as  it  may  be  left  indefinitely  on  the  picture 
without  injuring  it. 

This  process,  however,  has  its  difficulties,  which  have 
hitherto  prevented  its  general  use.  They  do  not  pertain 
to  the  process  itself,  but  to  the  preservation  of  the  beau- 
tiful shadings  in  the  high  lights.  These,  apparently,  are 
injured  by  a  too  dense  precipitate  of  calomel,  which 
makes  the  picture  look  fiat  in  the  lights,  and,  when 
over-exposed,  also  fogged  in  the  shadows. 

To  remedy  these  defects,  the  positive  should  be  some- 
what under-exposed,  whereby  the  shadows  are  kept 
black  and  vigorous,  while  the  re-developing  solution 
whitens  the  faint  details,  and  renders  visible  what  before 
could  scarce  be  discerned. 

Next,  the  effects  of  light  and  shade  on  the  sitter,  should 
be  carefully  studied.  The  model  must  look  round  and 
not  flat ;  the  contrasts  between  light  and  shade  must  be 
not  too  strong ;  and  the  shadows  must  be  relieved  by 
the  reflex  lights  produced  by  white  screens.  The  pro- 
cess does  not  seem  suitable  for  out-door  views,  or  subjects 
exhibiting  strong  contrasts  of  light  and  shade,  or  impro- 
perly illumined  by  cross-lights,  or  a  generally  diffused 
glare. 

In  coloring  an  alabastrine  portrait  only  four  colors  are 
used,  viz.:  white,  black,  vermilion,  and  light-red.  The 
shadows  are  first  painted  with  mixed -black  and  vermil- 
ion, which  make  a  warm,  transparent  color. 

Then  the  edges  of  the  shadows  are  painted  with  a 
mixture  of  black  and  white  (the  lead  color  of  house- 
painters),  blended  partially  into  the  shadows. 

Next  the  local  flesh-color  is  laid  on  all  over  the  lights. 
This  is  made  by  mixing  white  and  light-red,  and  is 
blended  into  the  gray  edges  of  the  shadows. 


I 


THE  DIAPHANOTYPE.  309 

Some  vermilion  is  then  applied  to  the  cheeks,  lips,  &c., 
and  some  gray  to  other  parts,  and  this  constitutes  the 
first  painting  of  a  face. 

The  principle  to  be  observed  is,  that  the  shadows  are 
not  a  cold,  dirty  black,  but  a  warm  red  in  their  deepest 
parts,  where  reflex  lights  enliven  them,  while  their  edges 
only  are  gray ;  the  edge  of  a  shadow  being  the  part  of 
the  model,  where  the  light  strikes  the  rounded  surface 
at  a  tangent. 

There  is  nothing  to  compare  with  a  well-colored 
alabastrine  portrait.  The  beauty  of  a  small  portrait 
consists  in  the  delicacy  and  perfection  of  its  details.  A 
miniature  on  paper  is  far  too  coarse,  and  will  not  bear 
close  inspection.  Its  eyes  are  indistinct  and  fishy,  while 
in  a  direct  positive  on  glass,  as  in  a  daguerreotype,  you 
can  trace  numerous  exquisite  gradations  of  shade  within 
the  iris.  Paper,  even  when  albumenized,  will  not  bear 
close  examining  or  magnifying  with  a  lens. 

For  portraiture,  then,  the  alabastrine  process  is  well 
worthy  the  careful  attention  and  the  diligent  study  of  the 
photographer. 

THE  DIAPHANOTYPE. 

This  picture  is  a  variation  of  the  principle  described 
under  the  head  of  Hallotype,  and  originated  with  B.  0. 
Hawkins,  of  Cincinnati,  Ohio.     It  is  made  as  follows : 

A  good  plain  positive  paper  photograph,  after  being 
well  fixed  by  the  hyposulphite,  is  thoroughly  washed  to 
secure  permanence.  It  is  first  worked  up  in  ink,  and  the 
completed  picture  is  the  finer  in  proportion  to  the  amount 
of  work  and  retouching  devoted  to  it  by  a  skilful  oper- 
ant. 


310         THE  CAMEEA  AND  THE  PENCIL. 

For  large  pictures,  heavy  plate- glass,  of  a  quarter-incli 
thickness,  is  pronounced  the  best ;  it  gives  the  picture  an 
enamelled  appearance,  and  is  not  easily  broken  or  effaced. 
Cleanse  the  plate  carefully,  and  with  a  brush  go  over  the 
entire  surface,  while  in  a  horizontal  position,  with  a 
mixture  of  four  parts  fir  balsam  and  one  part  dem  mar 
varnish  thoroughly  incorporated.  Meanwhile,  let  the 
photograph  to  be  "put  down"  float  on  a  pan  of  clear 
water,  face  upward.  When  the  picture  is  soft  and  pliant, 
lift  it  carefully  to  avoid  wetting  the  upper  surface,  and 
lay  it  on  a  sheet  of  bibulous  paper  to  absorb  the  super- 
fluous moisture. 

The  picture  being  now  placed  face  uppermost,  the 
balsam  surface  of  the  glass  is  firmly  pressed  down  upon 
it.  After  lying  there  about  five  minutes,  so  that  the 
balsam  may  permeate  the  picture  and  expel  the  moisture, 
a  little  linseed  or  nut  oil  is  poured  upon  the  plate,  and 
the  excess  of  balsam  is  removed  by  rubbing  with  the 
finger. 

It  is  also  a  good  method  to  rest  the  plate  on  one  edge 
or  corner,  with  the  glass  surface  uppermost,  and,  with 
the  index-finger  slightly  bent,  to  press  against  the  picture 
in  the  centre,  and  draw  the  finger  towards  you.  Thus 
you  may  remove  all  the  superfluous  balsam  as  well  as 
the  air-bubbles.  Keep  turning  the  glass  from  corner  to 
corner  till  every  blister  is  removed.  Lay  it  flat,  and 
continue  rubbing  with  the  finger-tip,  till  a  smooth,  level 
surface  is  secured.  Finally  pour  oil  upon  it,  and  let  it 
remain  there  till  you  are  ready  to  paint  it. 

The  painting-easel  differs  from  the  ordinary  one  in  not 
growing  narrow  towards  the  top,  but  in  making  the  two 
supports  parallel,  and  also  in  having  two  back  legs 
instead  of  one.     See  engraving. 


THE  DIAPHANOTYPE. 


311 


The  frame  in  tlie  centre  has 
a  pin  A,  on  which  it  swings ; 
allowing  you,  while  painting 
the  photograph,  which  is  at- 
tached to  the  posterior  surface, 
to  swing  it  round  and  examine 
the  front  surface,  and  thus  as- 
certain what  is  done,  and  what 
remains  to  be  done  towards 
completing  the  picture.  B  in- 
dicates a  dark  cloth,  designed 
to  shut  off  the  light  during  the  process  of  painting. 

The  surface  of  the  photograph,  whereon  you  paint, 
must  be  perfectly  free  from  balsam,  and  clean  generally. 
After  the  glass  with  the  adhering  picture  has  been 
fastened  in  the  frame,  it  must  be  cleansed  with  a  rag  dipped 
in  turpentine. 'then  wiped  dry ;  and,  finally,  a  few  drops 
of  oil  rubbed  over  the  surface,  just  enough  to  oil  it 
properly,  and  no  more. 

In  painting  commence  with  the  eyes ;  next  go  to  the 
high  lights  of  the  forehead,  nose,  &c.;  then  proceed  to 
the  lower  lights,  and  so  on  down  to  the  shadows  of  the 
flesh.  Put  the  tints  firmly  in  their  places  and  blend 
them,  then  paint  the  hair,  and  lastly  the  drapery  and 
background. 

The  colors  requisite  are  white,  Naples  yellow,  brilliant 
yellow,  chrome  yellow,  raw  sienna,  yellow  ochre,  Eoman 
ochre,  scarlet  lake,  vermilion,  Venetian  and  cobalt  blue, 
permanent  blue,  Prussian  blue,  burnt  Koman  ochre, 
burnt  sienna,  Vandyke  brown,  and  ivory  black. 

A  good  diaphanotype  (as  its  surface  is  in  oil)  can  be 
painted  only  with  a  good  body  of  color.  Thin  painting 
gives  but  thin,  flat,  dead  pictures,  devoid  of  all  good 
effects. 


312         THE  CAMEKA  AND  THE  PENCIL. 


The  peculiarities,  belonging  to  the  manipulation  of  this 
picture,  make  it  very  difficult  to  finish  by  any  save  well 
trained,  skilful  artists  of  genius.  The  number,  therefore, 
is  small  of  those,  who  succeed  in  producing  creditable 
pictures.  When  well  executed,  they  are  exquisitely 
beautiful,  and  promise  to  be  durable. 

THE  HALLOTYPE. 

This  is  a  species  of  picture,  patented  by  J.  Bishop 
Hall  of  New  York,  January  20th,  1857.  Its  principle 
consists  in  combining  two  or  more  pictures,  which  are 
fac-similes  or  duplicate  impressions  on  semi-translucent 
material,  so  as  to  form  one  picture.  The  principle  may 
be  applied  to  engravings,  lithographs,  &c.,  as  well  as  to 
photographs.  If  applied  to  the  last  named,  let  two  copies 
oe  taken  on  photographic  paper  in  the  ordinary  way. 
Make  the  paper  of  both  partially  transparent  with  oil. 
Cement  each  to  a  separate  glass  with  copal  or  other 
varnish,  which  should  first  be  applied  to  the  glass,  and 
partially  dried  to  the  state,  called  "  tacky."  In  putting 
the  picture  on  the  glass,  press  carefully  out  all  air- 
bubbles  between  the  paper  and  the  glass.  Each  being 
then  dried,  or  nearly  so,  scrape  all  excrescences  thor- 
oughly from  the  back.  Then  put  on  the  pictures  one  or 
more  coats  of  copal,  or  other  proper  varnish.  These 
being  dried,  join  the  two  glass  plates,  so  that  the  pictures 
shall  coincide,  then  cement  and  exclude  from  air. 

Such  is  the  simplest  form  of  this  picture.  Different 
effects  are  produced  by  attaching  to  the  glass  the  front 
picture  only,  and  placing  the  second  some  way  behind,  so 
as  to  correspond  to  the  other.  So,  by  cutting  out  certain 
parts  of  the  back  picture,  and  thus  permitting  more  light 
to  reach  the  front  one,  fine  effects  are  obtained.     Other 


THE  HALLOTYPE.  313 


effects,  again,  are  procured  bj  other  variations.  These 
pictures  wear  somewhat  of  the  appearance  of  wax  figures. 

Mr.  Hall's  originality  in  this  invention  has  been  ques- 
tioned— whether  justly  or  not,  we  leave  the  reader  to 
decide — merely  placing  before  him  certain  authenticated 
historical  facts. 

The  system  of  putting  color  on  the  hack  of  the  image 
has  been  practised  in  Germany  ever  since  1824;  was 
patented  there  in  1827,  and  applied  to  engravings  and 
lithographs. 

M.  Minotto,  a  few  years  since,  applied  the  same  prin- 
ciple to  photography.  His  application  was  in  three  dif 
ferent  modes : — 

1.  The  paper,  bearing  the  image  to  be  colored,  is  held 
up  to  the  light,  so  that  the  operant  can  pencil  on  the 
back  the  outlines  of  the  various  tints ;  then  put  the 
colors,  either  oil  or  water  colors,  on  the  different  portions 
of  the  back  of  the  paper. 

2.  Begin  by  varnishing  the  paper,  then  dry,  and  finally 
color  on  the  back.  Here  the  colors  being  seen  at  once, 
may  be  corrected  at  pleasure,  and  the  crayon -sketching  is 
needless.  Of  course  colors  must  be  used,  which  will  take- 
on  varnish. 

3.  Trace  the  outlines  of  the  picture  on  a  separate 
paper,  and  apply  the  colors  thereon.  Then  af&x  this 
paper  to  the  one  bearing  the  image,  the  outlines  of  the 
two  being  made  to  coincide,  and,  the  two  being  pressed 
together,  the  colors  shine  through. 

The  advantages,  possessed  by  this  over  the  other  two, 
are :  1st.  We  preserve  uncolored  (though  varnished)  the 
original  image  produced  by  the  light. 

2d.  The  colors  may  be  easily  corrected  by  painting 
over  the  primal  tints. 

3d.  We  may  give  the  same  image  several  different 


314  THE  CAMERA  AND  THE  PENCIL. 

aspects,  by  executing  a  number  of  various-colored  dupli- 
cates, and  tbus  cbange  tbe  tints  of  the  dress,  hair,  &c. 

4th.  We  may  cut  out  the  paper  bearing  the  colors,  and 
apply  it  upon  several  backgrounds,  to  find  which  suits 
best. 

These  operations  are  all  simple,  yet  require  care. 
The  paper  should  be  even-textured,  and  neither  too  thick 
nor  too  thin,  as  either  excess  produces  different  defects ; 
and  the  colors  should  be  very  vivid,  their  force  being 
diminished  by  the  veil  of  the  photographic  paper,  and 
the  varnish  should  be  colorless. 

"The  chromatint,"  the  right  to  practise  which  was 
sold  a  few  years  ago  for  $25,  as  a  new  invention,  was 
a  bare-faced  filch  from  Minotto.  "Whether  the  •''  hallo- 
type"  was,  or  was  not,  borrowed  from  the  same  source, 
our  readers  must  determine  for  themselves. 

Furthermore,  Wenderoth  affirms  unqualifiedly,  that 
all  three  of  these  differently -named  processes  are  nothing 
other  than  applications  of  Grecian  or  Oriental  painting 
to  photography. 

VARIATIONS  OF  THE  PRINCIPLES  OF  THE  HALLOTYPE. 

One  of  these  is  to  seal  the  photographic  proof  to  a 
smooth  fine  card-board,  cut  of  the  same  size  as  the  glass, 
with  the  face  up,  and  colored  with  water  colors. 

Then  make  a  duplicate  proof  transparent  with  sweet 
oil;  take  the  excess  of  oil  off  by  placing  it  between  sheets 
of  blotting  paper ;  then  tint  the  eyes,  cheeks,  &c.,  slightly 
with  transparent  oil  colors. 

Next  take  the  proof  mounted  on  card-board,  and  color 
it  on  the  face  with  dry  colors  (using  stumps)  or  oil,  or 
water  colors;   then   put  the  two  together,  making  the 


COPYING  OF  ENGRAVINGS — THE  HILLOTYPE.        315 


lines  to  match,  and  seal  with  gum  arabic  dissolved  in 
water,  a  little  "  rop j," 

Another  successful  mode  (if  executed  by  a  skilful  artist) 
is  to  color  the  proof  slightly  and  carefully  with  water 
colors,  before  it  is  made  transparent  with  oil;  then  seal  the 
two  together  with  gum  dem  mar.  This  is  the  most  satis- 
factory picture,  though  gum  arabic  is  best,  if  it  can  be 
used  without  making  air-bubbles. 

THE  COPYING  OF  ENGRAVINGS  AND  DRAWINGS  BY  SIMPLE 
CONTACT  AND  WITHOUT  THE  USE  OF  THE  CAMERA. 

This  process,  which  presents  no  difficulty,  is  very  con- 
venient in  numerous  cases :  e.  g.  when  an  engraving  or 
drawing  is  to  be  transcribed  in  the  same  proportions  as 
the  original.  It  may  be  compared  to  the  process  called 
by  engravers  counter- drawing,  and  in  this  respect  may 
be  extremely  useful  to  them;  since,  without  injuring  the 
original,  they  can  transfer,  with  readiness,  a  drawing 
or  engraving,  &c.,  to  a  metallic  plate  as  often  as  they 
may  wish. 

To  obtain  this  result,  procure  a  silvered  plate,  of  the 
same  size  as  the  engraving  to  be  copied.  This  plate  is 
iodized  and  brominized  in  the  usual  manner  as  for  a 
daguerreotype.  When  it  has  received  the  sensitive  coat- 
ing, apply  to  it  in  the  dark  the  engraving,  in  such  a 
manner  that  its  surface  may  be  in  contact  with  the 
iodized  and  brominized  surface  of  the  plate.  Then  place 
over  the  engraving  a  smooth  plate  of  glass,  of  suitable 
dimensions,  designed  to  assure  the  perfect  contact  of  the 
engraving  and  plate,  without,  however,  intercepting  the 
luminous  action  to  which  the  whole  is  to  be  submitted. 
These  arrangements  being  made^  raise  with  both  hands, 
at  the  same  time,  the  engraving,  plate,  and  glass,  which 


316  THE  CAMEEA  AND  THE  PENCIL. 

press  gently  together ;  then  expose  them  to  diffused  light 
from  five  to  fifteen  seconds,  according  to  its  intensity. 
In  the  sun,  from  two  to  five  seconds  would  suffice.  Then 
carry  the  whole  into  the  dark ;  cautiously  remove  the 
glass  and  engraving ;  submit  the .  plate  to  the  mercurial 
vapors;  and,  if  the  operation  has  been  carefully  per- 
formed, the  impression  will  speedily  appear.  After  it 
has  been  carefully  developed,  it  may  be  washed  and  fixed 
by  the  ordinary  methods  of  treating  photographs. 

.     THE  HILLOTTPE. 

The  pictures  thus  styled,  and  exhibited  to  the  Patent 
Office  Committee,  chosen  by  the  United  States  Senate,  in 
1853,  were  probably  made  on  the  same  principle  men- 
tioned above,  with  some  variations — colored  prints  being 
used,  and  the  impression  made  on  daguerreotype  plates 
afterwards  varnished  or  lackered,  and  finished  over  strong 
heat.  No  portraits  from  life  were  exhibited,  and  the 
few,  cautiously  shown  to  private  persons,  were  probably 
common  daguerreotypes,  carefully  colored  by  hand,  and 
secured  by  amber- varnish  or  some  other  translucent 
substance.  The  one  which  fell  into  my  hands,  after  the 
publication  of  Mr.  Hill's  book,  was  examined  by  me  under 
a  strong  magnifier,  and  proved  to  be  only  an  ordinary 
colored  daguerreotype — the  dry  colored  powder  being 
undeniably  and  distinctly  visible  on  the  face  and  hair. 
Such  was,  probably,  the  substance  of  the  trich,  which 
created  so  much  excitement  throughout  our  country,  and 
injured  the  heliographic  artists  to  the  amount  of  many 
thousands  of  dollars.  It  seems  to  have  been  started 
merely  to  get  money,  and,  backed  up  by  the  respectable 
title  of  Reverend,  it  had  a  very  considerable  run. 


THE  SPHEEEOTYPE.  317 


CRAYON  OR  VIGNETTE  DAGUERREOTYPE, 

A  picture  of  this  kind,  where  the  head  and  bust,  or 
the  head  alone  is  taken  upon  a  light  ground,  may  be 
greatly  improved,  and  enhanced  in  beauty,  by  giving  it 
a  spherical  surface. 

This  may  be  effected  in  several  different  ways.  Take 
the  vignette  picture  upon  the  one-sixth  size,  or  medium 
plate,  or  even  smaller,  with  light  ground.  When  gilded, 
place  the  picture  or  plate,  face  up,  upon  a  glass  paper- 
weight, not  over  two  inches  in  diameter,  smooth  and 
convex  or  oval. 

Then  with  a  tin  ring,  large  enough  to  touch  the  plate 
on  all  sides,  without  injuring  the  picture,  press  gently 
down  upon  the  plate,  so  as  to  give  it  a  form  regularly 
and  completely  spherical.  Finally  mount,  or  set  in  a 
case  under  an  American  miniature  spherical  glass,  and 
the  effect  will  be  exceedingly  beautiful. 

THE  SPHEREOTYPE. 

This  picture  was  patented  in  1856,  by  Bisbee,  a  helio- 
graphic  artist  of  Columbus,  Ohio. 

It  is  simply  a  positive  collodion  picture,  taken  upon 
glass,  by  placing  a  mat  before  the  plate,  with  an  opening 
of  the  same  size  as  that  with  which  it  is  to  be  mounted, 
or  placed  in  the  case.  Through  this  opening  alone  does 
the  light  pass  and  act  upon  that  portion  of  the  sensitive 
coating  of  the  plate,  which  is  thus  reached  in  the  camera. 

Afterwards  develop,  wash,  fix,  and  finish  in  the  ordi- 
nary mode.  Mount,  or  set  in  the  case,  with  a  matt 
behind  or  beneath  the  picture,  as  well  as  over  or  before 
it.  By  this  means  a  spherical  appearance  is  imparted  to 
the  picture,  and  hence  it  takes  its  name.  When  skilfully 
finished  in  dry  colors,  this  style  of  spherical  positive 
picture  is  pleasing. 


318  THE  CAMERA  AND  THE  PENCIL. 

THE  ECTOGRAPH. 

f  Patented  by  "William  Campbell, 
1  Jersey  City,  N.  J. 

The  name  ectograph  was  adopted,  as  giving  some 
intimation  of  the  manner  in  which  the  picture  was 
finished;  i.  e.  "from  behind." 

The  picture  is  made  as  follows : — 

Take  such  a  negative  as  is  customary  for  the  solar 
camera,;  i.  e.full  in  detail,  hut  not  dense,  and  wholly  with- 
out fault.  No  pains  should  be  spared  in  this  first  step, 
as  every  after-step  will  faithfully  reproduce  whatever 
failing  there  may  be. 

Place  the  negative  in  the  copying  camera,  and  turn  it 
towards  a  clear,  though  not  too  strong,  north  light — the 
sky  being,  if  possible,  made  to  serve  as  the  background  ; 
as  every  object  that  intercepts  the  light,  however  distant, 
will  palpably  aftect  the  resulting  photograph.  When 
the  sky  cannot  subserve  this  purpose,  then  any  purely 
white  object,  sufiiciently  large  to  cover  the  negative 
when  at  a  distance,  will  answer. 

The  negative  being  in  position,  the  finest  French  plate 
glass  should  be  used  for  the  positive.  The  details  of  this 
process  may  be  found  in  any  work  on  photography. 

Supposing  a  perfect  positive  to  have  been  obtained,  the 
subsequent  process  described  below  is  very  simple. 

The  picture  may  be  varnished,  or  not,  at  the  operant's 
choice.  The  application  of  a  clear,  good  varnish  may 
possibly  be  of  some  utility,  though  Mr.  Campbell  says 
he  has  tried  both  methods,  without  detecting  any  differ- 
ence between  their  results.  The  positive  must  now  be 
coated  on  the  c<^llodion  side  with  a  thin  layer  of  white 
wax,  and,  being  held  to  the  light,  must  be  colored  either 
with  oil  or  water  colors.  If  "Wiater  colors  are  employed, 
the  wax  must  be  prepared  to  take  the  color  kindly,  by 


THE  ECTOGRAPH.  319 


slightly  rubbing  it  over  with  a  little  ox-gall  or  soap  and 
water.     A  very  little  will  suffice. 

If  the  operant  be  unused  to  coloring,  lie  may  first 
varnish  the  wax  and  then  color.  If  he  does  not  succeed 
to  his  liking,  he  can  rub  or  wash  the  color  off  and  com- 
mence anew.  Whereas,  without  so  varnishing,  and  if 
the  color  be  laid  immediately  upon  the  wax,  it  cannot  be 
removed  easily,  if  indeed  at  all. 

If  elaborate  work  be  desired,  the  lines  and  shades  of 
the  photograph  will  indicate  where  to  put  the  colors,  and 
taste  will  prescribe  how  to  arrange  them.  Dispatch, 
however,  is  sometimes  of  moment,  in  which  case  the 
whole  drapery  of  the  figure  may,  with  a  full  brush,  be 
covered  in  ten  minutes  with  one  color,  producing  an 
effect  as  beautiful  as  could  be  desired. 

Be  it  noted,  that  the  materials  used  in  this  process 
must  be  of  the  best  quality,  and  all  the  appliances  and 
manipulations  marked  by  perfect  cleanliness. 

Thus  the  glass  should  be  the  finest  plate ;  the  wax 
should  be  sun-bleached  (as  no  other  will  answer) ;  and 
the  colors  should  be  brilliant  in  hue  and  not  liable  to 
fade.  With  such  appliances  and  care  there  need  be  no 
apprehension  of  failure.  Forformula,  see  Yolume  Second. 

The  Porcelain  Picture. — This  was  invented  by  J. 
Wallace  Black,  of  Boston,  Massachusetts.  It  is  made 
upon  a  species  of  porcelain  glass,  manufactured  expressly 
for  Mr.  B.,  to  apply  to  this  object  solely.  It  resembles 
both  the  alabastrine  picture  and  the  ectograph  in  being  a 
positive,  copied  on  glass  from  a  negative. 

It  is  a  rich  and  beautiful  picture,  even  without  coloring, 
and  has  all  the  fine  details  of  the  daguerreotype,  without 
its  reflection.  It  is  susceptible  of  being  so  colored  as 
strongly  to  resemble  a  miniature  on  ivory,  but  surpasses 
this  in  truthfulness.     It  is  believed  to  be  durable. 

For  formula,  see  Volume  Second. 


CHAPTEE  XXYIII. 

Microscope  at  first  undervalued — Pope — Addison  —  Ehrenberg's  discovery 
thereby,  1839 — Infusoria  at  Berlin — Lunoburg — Virginia,  U.  S. — Tripoli 
powder.  Infusoria — Microscopic  vegetables  abundsint  as  animals — Ocean  mud 
and  pond  scum,  organic  life,  viz.,  desmidiae  and  diatomace£B — Divine  ends 
subserved  by  infusoria — Calcareous  earth  eaten  in  South  America — Guinea, 
Finland,  China,  <fco.,  composed  of  organic  remains — Islands  formed  by  ani- 
malcules— Ocean  phosphorescence  by  same — Red  Sea  thus  colored — Lewen- 
hoeck — Codfish  milt — 17,000  divisions  of  butterfly's  eye — In  one  pound 
cochineal  70.000  insects — Divine  purpose  in  animalcular  creation — Serve  as 
scavengers — Prevent  diminution  of  earth's  existing  matter — Services  of 
microscope  to  commerce — Jurisprudence,  sciences,  arts,  &a. — Life-saving 
application  of  microscope  in  France,  <fcc. — Connection  of  microscope  with 
heliography. 

THE     CAMERA     AND    THE     MICROSCOPE — OR     MICRO-PHO- 
TOGRAPHY. 

The  important  aid  rendered  by  the  microscope  to  the 
heliographic  art,  makes  some  account  of  this  instrument, 
and  of  the  various  discoveries  achieved  by  its  means,  not 
irrelevant  to  the  present  work.  Of  these  discoveries  I 
shall  first  and  chiefly  speak,  reserving  my  description  of 
the  instrument  and  of  the  nature  of  its  connection  with 
our  art  to  the  second  part  of  this  treatise. 

The  microscope,  strangely  enough,  met  with  little 
favor  on  its  first  introduction.  For  reasons  peculiar  (it 
would  seem)  to  that  day,  a  slur  had  been  cast  upon  ento- 
mology and  kindred  pursuits,  as  dealing  with  minute 
and  of  consequence  (according  to  the  vulgar  estimate) 
useless,  if  not  despicable  objects.  Not  unnaturally,  this 
reproach  was  reflected  upon  the  microscopists  and  their 
instrument,  since  the  entomologist  employed  it  habitually 

(320) 


MICRO-PHOTOGAEPHY.  321 

in  the  pursuits  thus  contemned.  It  is,  certainl}'-,  a 
strange  spectacle  to  see  Pope  and  Addison  devoting  the 
talents,  then  wielding  so  potent  and  wide  an  influence,  to 
heaping  ridicule  upon  a  class  of  philosophers,  to  whom 
we  owe  the  revelation  of  a  veritable  universe,  not  less 
curious  or  replete  witli  wonders,  than  the  universe  dis- 
closed to  us  by  the  telescope.  Nor  is  it  less  strange,  that 
a  British  peeress  should  have  been  declared  a  lunatic  on 
account  of  her  enthusiastic  devotion  to  entomologic 
studies ;  and  that  an  attempt  to  invalidate  her  last  will 
and  testament  should  have  been  made  on  this  pretext 
solely. 

To  enhance  to  the  utmost  the  absurdity  of  this  vulgar 
prejudice,  it  so  chanced  that,  at  this  very  date,  all  mi- 
nutest products  of  human  skill  were  more  inordinately 
prized  and  more  passionately  sought  after,  than  ever 
before  or  since. 

But  it  is  time  I  commence  what  must,  perforce,  be 
both  a  brief  and  a  desultory  account  of  the  discoveries 
effected  through  the  microscope.  I  shall  ask  the  reader's 
attention  first,  to  the  composition  of  our  globe's  crust. 

In  1839  Professor  Ehrenberg  published  the  remarka- 
ble fact  of  his  discovery,  by  this  instrument,  of  a  stratum 
of  soil,  in  the  Prussian  city  of  Berlin,  composed  almost 
wholly  of  living  infusoria.  It  lies  about  fifteen  feet 
beneath  the  surface,  and  is  from  twenty  to  sixty  feet 
thick.  Of  the  mass  of  minute  siliceous  infusoria,  consti- 
tuting most  of  this  stratum,  a  considerable  portion  is 
still  living  and  reproducing.  Oxygen  for  sustaining  life 
can  reach  these  animals  only  in  the  water,  which  perco- 
lates this  infusorial  mass,  as  well  as  the  superincumbent 
soil ;  and  yet  life  is  actively  existent  throughout  this 
enormous  population.  Situated  beneath  the  pavement 
trodden  by  the  city's  inhabitants,  a  few  separate  cabie 
21 


822         THE  CAMERA  AND  THE  PENCIL. 

feet  of  tliis  stratum  swarm  witli  a  population,  outnumber- 
ing, a  billionfold,  the  human  crowd  abore. 

At  about  tlie  same  date,  in  the  vicinity  of  Hanoverian 
Liineburg,  and  one  foot  and  a  half  below  the  surface,  was 
found  a  bed,  twenty  feet  thick,  of  light  siliceous  earth, 
consisting  entirely  of  the  shells  of  defunct  infusoria,  so 
minute  as  to  be  invisible  to  the  naked  eye,  and  identical 
with  infusoria  still  living  in  neighboring  ponds. 

In  Virginia,  also,  are  extensive  beds  of  siliceous  marl, 
composed  mainly  of  infusorial  shells.  Their  forms  are 
discerned,  by  the  microscope,  to  be  of  exquisite  beauty, 
as  well  as  of  incalculable  variety ;  and  the  least  stain  left 
by  the  evaporation  of  a  drop  of  slightly  muddy  water,  is 
perceived  to  be  teeming  with  these  beautiful  and  tiny 
forms.  Richmond  and  Petersburg,  of  that  state,  are  built 
upon  strata,  several  yards  thick,  of  infusorial  bodies. 

The  metal-polishing  powder,  called  tripoli,  procured 
chiefly  in  Bohemian  Bilin  (and  the  state  of  Maine,  in  U.  S.), 
and  forming  series  of  beds  fourteen  feet  thick,  is  composed 
wholly  of  the  siliceous  shields  of  infusoria  in  very  com- 
plete preservation,  though  the  interior  organism  is  com- 
paratively gone,  from  (supposed)  exposure  to  a  high  tem- 
perature. The  shop  of  a  single  Berlin  druggist  is 
reported  to  contain  above  a  ton-weight  of  this  substance 
yearly ;  and  yet  the  supplying  beds  seem  hardly  dimin- 
ished. How  minute  these  creatures  are,  individually, 
may  perhaps  be  approximately  conceived  from  the  state- 
ment, that  one  cubic  inch  of  this  powder,  weighing  220  grs.,. 
contains  forty  thousand  millions  of  single  organisms ! 

Minute,  hov.^ever,  as  some  of  these  creatures  are,  they 
are  yet  quite  complicated  in  structure,  having  a  mouth, 
several  stomachs,  and  sundry  mobile  processes  named 
cilia  (eyelashes),  a  millionfold  more  delicate  than  the 
eyelash  of  a  human  infant  I     Some  possess  exquisitely 


MICRO-PHOTOGRAPHY.  323 


carved  shields,  of  pure  translucent  flint,  distinct  and 
unvarying  for  the  same  species,  and,  therefore,  supplying 
a  means  of  classification.  Of  the  smallest  of  them,  ten 
million  million  individuals  would  be  required  to  fill  the 
space  of  a  cubic  inch ;  and  yet  each  has  every  organ 
needful  for  life,  enjoyment,  and  reproduction,  with  all 
conditions  corresponding  to  its  nature  and  wants! 

But  discoveries  still  more  interesting  and  important 
than  these  were  made  by  Ehrenberg,  in  the  same  year 
(1839),  while  prosecuting  special  researches  into  the  form 
of  the  harbor  of  Wismer,  in  the  Baltic  Sea.  He  ascer- 
tained, that  from  one-twentieth  to  one-fourth  of  the  mud 
there  deposited,  consisted  either  of  living  infusoria,  or 
of  the  empty  shells  of  dead  ones.  It  being  found,  that 
upwards  of  200,000  lbs,  of  mud  are  deposited  here 
weekly,  it  follows  that,  during  the  last  century,  the 
deposition  must  have  amounted  to  3,240,000  hundred 
weight,  one-tenth  of  which  consisted  of  infusorial  ani- 
malcula ! 

At  Pillau,  M.  Hagen  found,  that  half  the  total  volume 
of  mud  often  consists  of  infusoria.  He  estimates,  that 
from  7200  to  14,000  cubic  metres  of  pure  infusorial 
organisms  are  here  annually  deposited  in  the  form  of 
mud.  By  consequence,  a  century  would  accumulate 
from  720,000  to  1,140,000  cubic  metres  of  tripoli  stone 
or  infusorial  rock. 

Ehrenberg  discovered,  moreover,  that  the  Nile  mud, 
immemoriably  famed  for  its  fertilizing  properties,  con- 
tained these  infusoria  in  such  prodigiouss  abundance, 
that  every  particle,  of  half  a  pin-head's  size,  contained  at 
least  one,  and  frequently  several  of  them ! 

Yet  universal  as  is  the  prevalence  of  microscopic 
animal  life,  hardly  less  abundant  are  various  forms  of 
vegetable  life,  too  minute  for  discrimination  by  the  naked 


324  THE  CAMERA  AND  THE  PENCIL. 


eye.  The  green  scum  of  the  wayside  stagnant  pool  and 
the  mud  of  the  ocean,  are  alike  found  to  be  teeming  with 
organized  vegetable  existence. 

The  plants  discovered  in  these  two  states  are  divided 
into  two  families :  the  desmidae,  inhabiting  fresh  water 
solely,  and  the  diatomacese,  salt  water  principally.  Though 
styled  plants,  however,  they  bear  little  or  no  similitude 
to  other  vegetable  beings.  They  are  circular,  triangular, 
and  even  parallelogramic  in  shape ;  and,  possessing  the 
singular  property  of  assimilating  to  their  organisms  the 
silex  existing  in  solution  in  the  waters  they  inhabit,  their 
bodies  are  indestructible.  By  consequence,  these  bodies 
form  incessantly  enlarging  beds  at  the  bottom  of  the 
ocean,  as  well  as  of  lakes  and  ponds.  This  process 
having  been  going  on  from  the  dawn  of  time,  we  now 
find  extensive  rocky  strata,  chains  of  hills,  beds  of  marl, 
and  soils  of  every  description,  whether  superficial,  or 
raised  from  far  depths,  composed,  in  a  greater  or  less 
degree,  of  these  plantal  reliques  ;  while  some  large  tracts 
of  country  are  literally  built  up  with  the  same. 

According  to  Dr.  Hooker,  the  waters  and  even  the  ice 
of  the  whole  Antarctic  Ocean,  between  the  parallels  of 
60°  and  80°  South,  so  abound  in  these  plants,  that  the 
sea  wears  everywhere  a  pale  ochrous  shade.  The  same 
plants  are  probably  dispersed  uniformly  over  the  whole 
ocean,  though  from  their  minuteness  imperceptible,  save 
when  massed  abundantly  together,  as  in  the  icy  sea.  On 
this  vegetation,  the  animal  occupants  of  these  waters 
depend  largely  for  sustenance,  while  their  defunct  organ- 
isms form  deposits,  which  are  to  ultimate  in  islands  and 
continents. 

But  these  Diatomaceae  also  perform  long  journeys  on 
the  wings  of  the  wind.  Darwin,  having  collected  an 
impalpable  dust,  which  fell  on  the  ship  Beagle.,  whep. 


MIUHO-PHOTOCiKAPHY,  325 


sailing  to  the  west  of  the  Cape  de  Verd  Isles,  found  it, 
on  microscopic  inspection,  to  consist  of  the  skeletons  of 
diatomacese,  ejected  probably  from  some  volcano  then 
active.  These  siliceous  skeletons,  being  indestructible 
bj  fire,  constitute,  jointly  with  infusoria,  portions  of  the 
ashes  and  pumice  vomited  from  the  eruptive  crater. 

Besides  suppl3dng  food  to  classes  of  animals,  these 
plants  prepare  the  soil  for  the  production  of  higher 
vegetable  organisms,  through  the  minute  division  of  the 
siliceous  particles  laid  up  in  their  tissues,  whereby  these 
particles  are  rendered  fitter  for  assimilation  by  such 
organisms.  ISTor  is  there  reason  for  doubting,  that  the 
diatomacese,  like  other  vegetables,  decompose  carbonic 
acid  and  liberate  oxygen,  thus  performing  a  due  share 
of  that  life-sustaining  function  of  the  plantal  world. 

It  is  well  known  that  chalk  beds  constitute  a  quite 
considerable  portion  of  the  globe's  crust.  This  chalk  is 
composed  almost  entirely  of  shells  and  corals,  the  reliques 
of  animalcular  life.  So  minate  are  these  shells  and 
corals  individually,  that  one  million  of  them  are  embraced 
by  a  cuhic  inch  of  chalk !  These  shells  consist  mainly 
of  foraminifera,  which  swarm  in  unimaginable  numbers 
in  our  seas,  and  are  incessantly  augmenting  the  existent 
sub-oceanic  deposits.  The  miliola  species  of  the  fora- 
minifera so  abound  in  the  valley  of  the  Seine,  that  Paris 
and  the  towns  of  the  neighboring  territory  are,  almost 
exclusively,  built  of  them;  nor  is  the  south  of  France 
hardly  less  prolific  of  the  same. 

On  the  banks  of  the  Orinoco,  the  Meta,  and  the  Magda- 
lena,  in  South  America ;  in  Guinea  and  the  island  of 
Java ;  in  Finland,  in  Swedish  Lapland,  in  China,  and 
elsewhere,  the  natives  make  more  or  less  use  of  various 
species  of  calcareous  earth  for  food ;  and  in  periods  of 
extraordinary   scarcity,    subsist   principally   thereupon. 


326  TH£  CAMEEA  AND  THE  PENCIL. 

The  microscope  lias  disclosed,  that  all  these  varieties  of 
earth  consist  mainly  of  the  remains  of  organized  beings. 

In  January,  1687,  a  great  mass  of  black  paper-like 
substances  fell  during  a  storm  in  Courland,  and  the 
learned  in  vain  endeavored  to  detect  its  nature.  Some 
of  it,  however,  having  been  preserved  in  the  Berlin 
Museum,  was  finally  examined  through  the  microscope, 
and  found  to  be  a  matted  mass  of  minute  organisms, 
comprising  some  thirty  species  of  infusoria,  together 
with  a  few  confervae.  Thus  the  instrument,  once  so 
contemned,  revealed,  in  one  instant,  a  truth,  which  had 
baffled  the  most  earnest  inquiry  for  one  hundred  and  fifty 
years ! 

So  in  1736,  an  overflow  of  the  Silesian  river  Oder 
cast  a  paper-like  substance  on  shore,  which,  a  century 
later,  was  discovered  by  the  same  microscopic  scrutinist 
(Ehrenberg),  to  consist  of  nineteen  several  species  of 
infusoria,  with  a  filamental  tissue  of  confer vse. 

From  these  facts  we  learn,  that  animalcular  life  enacts 
a  vast  and  important  part  in  forming  the  solid  crust  of 
our  globe.  Indeed,  as  regards  this  end,  the  agency, 
exerted  by  the  whole  immense  residue  of  the  animal 
kingdom,  is  quite  inconsiderable,  compared  with  that  of 
these  tiny  creatures. 

We  have  noticed,  moreover,  the  existence  of  animal- 
cules in  the  seas,  with  the  various  purposes  they  fulfil 
therein;  one  of  which  is  the  formation  of  new  islands 
and  continents.  In  what  inconceivable  numbers  they 
occupy  the  sea,  may  be  illustrated  by  an  estimate  of 
Scoresby.  Thus,  portions  of  the  Arctic  Ocean,  frequent- 
ly covering  an  area  of  twenty  or  thirty  square  miles,  are 
made  turbid  by  the  multitude  of  animalcules  therein 
contained.  He  estimates  that  80,000  persons  working 
without  cessation  from  the  date  of  man's  creation  to  the 


MICRO-PHOTOGRAPHY.  827 


current  hour,  could  count  only  the  animalcula  comprised 
within  the  compass  of  two  miles  of  this  turbid  water ! 
What,  then,  must  be  the  sum,  representing  the  total  of 
organic  existences  in  the  Polar  Seas,  where  one-fourth  of 
the  Greenland  Sea,  for  ten  degrees  of  latitude,  consists 
of  water  com'pletely  surcharged  with  animalcules  ? 

As  Humboldt  remarks,  it  is  still  a  moot  point,  whether 
life  is  more  abundant  on  the  land  or  in  the  ocean.  That 
natural  phenomenon,  the  phosphorescence  of  the  sea, 
which  is  witnessed  in  all  latitudes,  and  is  beautiful  in  all, 
but  is,  in  the  tropics,  beautiful  beyond  expression,  is  now 
ascribed  to  the  light-emitting  powers  of  innumerable 
minute  animalcules  sporting  on  the  waves.  This  light  is 
considered  electro-magnetic,  and  is  evolved  from  the 
animal  concerned  by  its  voluntary  vital  act.  With  these 
light-emitting  living  organisms  are  mingled,  in  phospho- 
rescent waters,  vast  quantities  of  organic  matter,  the 
reliques  of  dead  animalcules,  which  shine  by  the  chemical 
decomposition,  set  up  in  all  decaying  organic  substance. 

Besides  the  diatom acege,  before  spoken  of,  other  classes 
of  minute  vegetation  abound,  in  certain  seas,  in  numbers 
beggaring  all  calculation.  Thus,  the  Red  Sea  derives  its 
title  from  the  presence  therein  of  a  species  of  extremely 
minute  algae  of  red  color.  The  same  plant  was  found  by 
Darwin  in  other  seas. 

But  the  land  and  the  waters  do  not  exclusively  teem 
with  microscopic  animal  and  vegetable  life.  The  atmo- 
sphere also  is,  at  all  times,  copiously  charged  with  it. 
By  evaporation,  by  sudden  gusts  of  wind,  and  kindred 
means,  these  creatures  are  uplifted  into  the  air,  and  after 
having  been  borne  by  its  currents  whole  degrees,  it  may 
be,  of  latitude  or  longitude,  are  dropped  upon  the  land 
or  into  the  water,  there  to  recommence  their  ordinary 
vital  functions.    Th3  yellow  meteoric  sand  or  mist,  often 


828         THE  CAMERA  AND  THE  PENCIL. 

falling  upon  the  Atlantic,  and  sometimes  carried  even  to 
Central  Europe,  was  discovered,  through  the  microscope, 
to  consist  of  siliceous  shelled  animalcula. 

But,  besides  these  already  developed  animals  and  vege- 
tables, the  atmosphere  contains  multitudinous  germs  of 
life,  such  as  eggs  of  insects  and  seeds  of  plants,  which  by 
means  of  hairy  or  feathery  crowns,  are  carried  forward 
on  vast  aerial  journeys.  So,  too,  the  vivifying  pollen  of 
the  blossoms  is  borne  by  winds,  by  birds,  and  by  winged 
insects,  often  across  lands  and  seas,  to  the  plant  which 
it  is  needed  to  fructify. 

Perhaps  no  physical  phenomenon  is  more  wonderful, 
than  the  seeming  omnipresence  of  fungus-germs  in  the 
air.  A  morsel  of  ripe  fruit,  a  little  water  spilled  on  a 
bread-crumb,  a  drop  of  stale  ink,  or  a  neglected  bottle 
of  medicine  may,  either  of  them,  furnish  evidence  of  this 
fact.  Very  shortly  the  decomposing  mass  is  enveloped 
by  a  velvety  covering,  which  speedily  acquires  a  luxu- 
riant growth.  Beneath  the  observer's  eye,  myriads  of 
delicate  forms  lengthen,  swell,  burst,  and  scatter  their 
invisible  germs  into  the  surrounding  air.  Fries  declares, 
that  in  a  single  individual  of  the  fungi,  he  has  reckoned 
above  10,000,000  seeds — ^adding,  that,  being  so  numerous 
and  so  light,  it  is  difficult  to  imagine  a  place  from  which 
they  can  be  excluded.  They  have  been  found  living 
within  the  lungs  of  a  living  man ;  they  are  in  the  waters, 
since  a  fungus  envelopes  the  fish  of  our  ornamental 
ponds  ;  and  they  penetrate  the  bowels  of  the  earth,  for  a 
luminous  fundus  lights  the  coal  mines  of  Dresden. 
Guano  from  Ichaboe  Island  contains  more  beautiful 
dratoms,  than  any  other  known  substance,  of  course 
having  been  swallowed  by  the  birds. 

The  phenomenon  of  colored  snow,  commonly  red 
though  occasionally  green,  is  familiar  to  scientific  men. 


MICRO-PHOTOGEAPHY.  329 

It  is  now  ascertained,  that  this  phenomenon  is  due  to  the 
presence  therein  of  both  vegetable  and  animal  life. 

Before  proceeding  to  inquire  what  offices  in  the  grand 
system  of  creation  are  subserved  by  the  varied  forms  of 
microscopic  existence,  we  insert  a  description  of  a  few 
additional  discoveries  effected  through  this  instrument. 

Thus,  Lewenhoeck,  the  microscopic  observer,  calcu- 
lates that  a  thousand  millions  of  animalcula,  which  are 
discovered  in  common  water,  are  not  altogether  so  large 
as  a  grain  of  sand.  In  the  milt  of  a  single  codfish  there 
are  more  animals  than  exist  upon  the  whole  earth ;  for 
a  sand-grain  is  bigger  than  4,000,000  of  them.  The 
white  matter,  that  adheres  to  the  teeth,  also  abounds  in 
animalcules  of  various  shapes,  to  which  vinegar  is  fatal ; 
and  it  is  known  that  vinegar  contains  animalculee  in  the 
form  of  eels.  A  mite  was  anciently  thought  the  limit 
of  littleness ;  but  now  we  are  not  surprised  at  being  told 
of  animals  twenty-seven  million  times  smaller  than  a 
mite.  Monsisa  de  1'  Isle  has  computed  the  celerity  of  a 
little  creature,  scarce  visible  from  its  sraallness,  which 
he  found  to  run  three  inches  in  half  a  second.  If  now 
you  suppose  its  feet  to  be  the  fifteenth  part  of  a  line,  it 
must  take  five  hundred  steps  in  the  space  of  three 
inches;  i.  e.  it  must  shift  its  legs  five  hundred  times  per 
second,  or  in  the  ordinary  pulsation  of  an  artery. 

The  proboscis  of  a  butterfly,  which  winds  round  in  a 
spiral  form,  like  the  spring  of  a  watch,  serves  for  both 
mouth  and  tongue,  by  entering  the  hollows  of  flowers 
and  extracting  their  juices.  The  seeds  of  strawberries 
rise  out  of  the  pulp  of  the  fruit,  and  appear  themselves 
like  strawberries,  when  viewed  with  the  microscope. 
The  farina  of  the  sunflower  seems  composed  of  flat,  cir- 
cular, minute  bodies,  sharp-pointed  round  the  edges ;  the 
middle  of  them  appears  transparent,  and  somewhat  re- 


330         THE  CAMERA  AND  THE  PENCIL. 

sembles  the  flower  it  springs  from,  The  powder  of  the 
tulip  is  shaped  exactly  like  the  seeds  of  cucumbers  and 
melons.  The  farina  of  the  poppy  looks  like  pearl-barley. 
That  of  the  lily  is  verj'-  like  that  of  the  tulip.  The  hairs 
of  the  head  are  tubular  fibres.  The  sting  of  the  bee  is  a 
horny  sheath,  which  includes  two  bearded  darts ;  and 
that  of  the  wasp  has  eight  beards  on  the  sides  of  each 
dart,  somewhat  like  the  beards  of  fish-hooks.  The  eyes 
of  gnats  are  pearled,  or  composed  of  many  rows  of  small 
semicircular  protuberances,  ranged  with  the  utmost  exact- 
ness. The  wandering  or  hunting  spider,  who  spins  no 
web,  has  two  tufts  of  feathers  attached  to  its  paws,  of 
exquisite  beauty  and  coloring.  Its  feet  have  a  comb  on 
each,  which  enable  it  to  move  on  and  fashion  its  web. 
A  grain  of  sand  will  cover  two  hundred  scales  of  the 
human  skin,  and  also  cover  twenty  thousand  of  the  pores 
from  which  issues  the  perspiration.  Justly  has  a  philos- 
opher (Mr.  Baker)  observed :  "  To  the  Deity,  an  atom  is 
a  world,  and  a  world  is  but  as  an  atom." 

The  following  facts  are  mentioned,  to  show  how  man's 
mechanical  ingenuity  has  been  favored  by  means  of  the 
microscope : 

In  a  certain  museum  was  exhibited  a  golden  chain,  of 
300  links,  all  being  but  an  inch  in  length,  fastened  to 
and  dragged  along  by  a  flea.  And  Mr.  Baker  narrates 
his  having  seen,  and  examined  with  a  microscope,  a 
chaise  having  four  wheels,  with  all  the  usual  apparatus 
pertaining  thereto,  together  with  a  man  seated  in  the 
chaise,  all  framed  of  ivory  and  drawn  forward  by  a  flea, 
without  any  seeming  difficulty.  The  weight  of  the  whole 
establishment,  flea  inclusive,  was  barely  a  single  grain. 
The  same  gentleman,  at  the  same  place  and  time,  also 
weighed  a  brass  chain  made  by  the  same  artificer,  con- 
taining 200  links,  with  a  hook  at  one  end  and  a  padlock 


MICKO-PHOTOGRAPHY.  .  331 

and  key  at  the  other,  all  about  two  inches  long,  and 
found  it  to  weigh  less  than  one-third  of  a  grain.  He 
speaks  also  of  having  seen  a  quadrille  table,  with  a 
drawer  in  it,  an  eating  table,  a  side-board  table,  a  looking- 
glass,  twelve  chairs  with  skeleton  backs,  two  dozen 
plates,  six  dishes,  a  dozen  knives  and  as  many  forks, 
twelve  spoons,  two  salts,  a  frame  and  castors,  together 
with  a  gentleman,  lady,  and  footman — all  contained  in  a 
cherry-stone,  and  not  filling  much  more  than  half  of  that ! 
In  our  day  may  be  purchased  cherry-stones  highly 
polished,  with  ivory  screws,  each  containing  one  hundred 
and  twenty  perfect  silver  spoons !  And  it  is  reported, 
that  a  certain  Oswald  Merlinger  fabricated  a  cup  of  a 
pepper-corn,  which  held  twelve  hundred  other  little  cups, 
turned  in  ivory,  each  of  them  gilt  on  the  edges,  and 
standing  upon  a  foot,  and  that  so  far  from  being  crowded 
or  wanting  room,  the  pepper-corn  would  have  held  four 
hundred  more !  So,  one  pennyworth  of  crude'  iron  can, 
by  art,  be  manufactured  into  watch-springs,  so  as  to  pro- 
duce a  thousand  pounds  sterling! 

Lewenhoeck  reckoned  seventeen  thousand  divisions  in 
the  cornea  (anterior  coat)  of  the  eye  of  a  butterfly — each 
of  which,  he  thought,  possessed  a  crystalline  lens.  Spi- 
ders are  similarly  supplied. 

By  microscopic  examination,  it  has  been  discovered, 
that  spiders  have  four  paps  for  spinning  their  threads — 
each  pap  having  about  one  thousand  holes — and  the  fine 
web  itself  is  the  union  of  four  thousand  separate  threads. 
No  spider  spins  more  than  four  webs — and  if  the  fourth 
be  destroyed,  it  seizes  on  the  webs  of  others. 

Every  pound  of  cochineal  contains  seventy  thousand 
insects  boiled  to  death — and  from  six  hundred  thousand 
pounds  to  seven  hundred  thousand  pounds  are  taken 
annually  to  Europe  for  dyeing  scarlet  and  crimson  colors. 


332  THE  CAMERA  AND  THE  PENCIL. 

It  will,  of  course,  be  understood,  that  tlie  microscope" 
is  concerned  alike  in  tlie  discoveries  and  tlie  manufac- 
tures alluded  to  above. 

The  question,  for  luliat  end  have  the  multitudinous 
forms  of  animal  and  vegetable  life  first  revealed  to  us  bv 
the  microscope,  heen  created,  is  not  yet  fully  settled 
by  the  savans.  That  one  of  their  offices  is  that  of 
scavengers,  is  however  obvious  enough.  Feeding,  as 
both  kinds  do,  on  decaying  animal  and  vegetable  parti- 
cles, they  aid  in  conserving  the  salubrity  of  our  air,  by 
removing  one  principal  cause  of  its  taint. 

A  second  and  still  more  important  function  of  theirs, 
would  seem  to  be  the  arresting  the  diminution  of  the 
existing  amount  of  organized  matter  on  our  globe.  For 
when  such  matter  has  reached  that  stage  of  decay,  imme- 
diately preceding  its  decomposition  into  the  elemental 
gases ;  or  (in  other  phrase)  its  passage  from  the  organic 
to  the  inorganic  world ;  these  swarming  myriads  of 
nature's  invisible  police  intercept  the  escaping  organized 
atoms,  and  retrovert  them  into  the  ascending  stream  of 
animal  life.  Having  first  converted  the  dead  particles 
into  their  own  living  substance,  they  become  themselves 
the  food  of  numerous  other  animals ;  and  thus,  by  ascen- 
sive  gradations,  the  identical  atoms,  which  were  on  the 
eve  of  escaping  from  the  realm  of  organic  matter,  come 
eventually  to  be  a  part  of  the  highest  organic  beings, 
man  himself  inclusive.  These  animalcules  may  well  be 
compared  to  the  minute  capillaries  in  the  animal  body — • 
receiving  organized  matter  in  its  state  of  utmost  attenua- 
tion, and  on  the  point  of  escaping  from  the  system,  and 
turning  it  back,  by  a  new  route,  towards  the  central  and 
highest  portion  of  that  system. 

Monads,  the  smallest  of  creatures  hnown,  are  said  to 
swim  by  myriads  in  a  dro'p  of  water.     It  has  been  com- 


MICRO-PHOTOGEAPHY.  333 

puted,  that,  within  this  compass,  five  hundred  million 
could  be  comprised !  The  monad  is  never  found  longer 
than  the  twelve-thousandth  part  of  an  inch. 

In  a  cubic  inch  of  a  certain  kind  of  mould,  consisting 
wholly  of  animalcula,  Ehrenberg  estimated,  that  over 
forty-one  millions  of  distinct  beings  existed! 

The  services,  moreover,  transcend  all  estimate,  which 
the  microscope  is  capable  of  rendering  alike  to  commerce, 
to  jurisprudence,  to  science,  and  to  the  arts,  useful  and 
ornamental,  of  life. 

Thus,  Professor  Owen,  by  a  microscopic  inspection  of 
0.  fragment  of  fossil-tooth,  demonstrated  the  existence, 
immemorial  ages  since,  of  an  animal  belonging  to  the 
genus  of  the  modern  sloths ;  but  of  a  bulk  so  enormous, 
as  to  be  able  to  uproot  and  push  down  the  largest  trees 
of  the  Tropic  forest — an  act  which  this  animal  was 
accustomed  to  perform,  for  the  sake  of  feeding,  as  do 
contemporary  sloths,  on  their  leaves  and  tender  shoots. 
In  fact,  neither  the  hammer  nor  the  blow-pipe  is  so 
essential  to  the  geologist,  as  the  microscope.  Through 
the  latter,  he  has  already  made  many  valuable  discoveries 
in  his  superb  science ;  and  by  these  discoveries  has 
already  been  constrained  to  re-classify,  to  a  not  inconsider- 
able extent,  the  fossilized  animal  tribes.  At  the  same 
time,  it  is  manifest,  that  he  has  but  just  entered  upon  a 
vast  field  of  kindred  discoveries. 

Hardly,  if  at  all,  less  important  is  the  microscope  to 
chemical  science.  A  European  professor  of  medical  juris- 
prudence, some  years  ago,  discovered  an  infallible  test 
for  detecting  the  presence  of  arsenic.  It  is  briefly  this  : 
Take  the  contents  of  the  alimentary  canal  of  a  person 
supposed  to  be  arsenically  poisoned,  and  apply  them  to 
small  strips  of  copper  ribbon,  prepared  in  a  certain  pre- 
scribed mode.     Dry  these  strips  and  put  them  in  a  clean 


334         THE  CAMERA  AND  THE  PENCIL. 

glass  tube,  to  the  bottom  of  wliicli  tbe  flame  of  a  spirit- 
lamp  is  applied.  If  arsenic  be  present,  it  soon  crystal- 
lizes in  a  brilliant  zone  round  the  upper  end  of  the  tube. 
It  is  known,  that  arsenious  acid  forms  beautiful  crystals 
of  an  octohedral  figure.  To  remove,  then,  all  shade  of 
doubt  whether  this  zone  be  arsenic,  or  not,  apply  the 
microscope.  If  it  he  such,  the  octohedral  figures  will 
instantly  appear.  How  momentous  this  discovery  is  to 
the  interests  of  justice,  is  plain  at  a  glance. 

Another  illustration  of  the  worth  of  this  instrument  in 
legal  concerns,  is  furnished  by  an  incident  that  occurred 
in  France  twenty  years  ago.  A  murder  had  been  perpe- 
trated— the  body  was  found,  covered  with  blood — and  the 
murderer  was  entirely  unknown.  A  certain  person,  how- 
ever, being  suspected,  his  domicil  was  searched,  though 
nothing  suspicious  was  discovered,  except  a  hatchet, 
whereon  were  some  stains  and  a  few  hairs.  On  inspect- 
ing the  hatchet  with  a  microscope,  the  hairs  were  found 
to  be  those  of  an  animal,  and  the  man  was  cleared. 
Very  probably  the  preservation  of  life  was,  in  this  case, 
due  to  this  once  contemned  instrument. 

Some  years  ago  it  was  found  by  microscopic  investiga- 
tion, that  the  Paris  milkmen  were  accustomed  to  defraud 
their  patrons  by  first  removing  the  cream  of  the  milk, 
and  then  restoring  the  richness  of  its  appearance,  by 
adding  thereto  the  brains  of  calves  or  sheep.  With  an 
instrument  of  a  power  of  from  three  hundred  to  five 
hundred  diameters,  fragments  of  cerelral  substance  were 
distinctly  perceived  beside  the  milk  globules. 

The  microscope,  moreover,  is  employed  in  selecting 
wet-nurses,  as  it  reveals  great  diversities  in  the  quality 
of  the  milk  of  different  women. 

The  merchant,  too,  is  beginning  to  find  this  instrument 
of  great  utility  in  his  business.    It  enables  him  to  detect 


MICRO-PHOTOGEAPHY.  335 

tlie  adulterations  of  commodities,  from  teas,  sugars,  and 
drugs,  down  to  guano  itself;  while  by  examining  the 
textures  of  manufactured  fabrics,  he  can  determine 
whether  or  not  thej  are  made  of  the  material  alleged. 

The  foregoing  statements  will  suf&ce  to  show  the  vast 
importance  of  the  instrument  which  discloses  to  us  such 
a  world  of  wonders ;  for  the  singular  beings,  thus  brought 
before  us,  bear  no  resemblance  to  those  which  are  visible 
to  the  unaided  eye ;  and  their  modes  of  progression, 
existence,  and  increase  are,  in  most  respects,  entirely 
dissimular. 

But  life,  with  its  rich  endowments,  is  theirs;  and, 
though  millions  can  be  contained  within  the  bulk  of  a 
mustard-seed,  yet  each  individual  of  this  vast  assemblage 
is,  in  its  organization,  as  perfect  as  an  elephant  which, 
in  its  size  relatively  to  this  sentient  atom,  is  as  a  universe 
in  comparison  with  ourselves.  The  living  creatures  of 
the  microscopic  world  are,  probably,  far  more  numerous 
than  those  which  are  perceivable  by  the  naked  eye. 
And,  from  the  splendid  discoveries  already  made,  we 
may  reasonably  infer  that,  if  our  vision  could  become 
indefinitely  more  piercing,  and  progressively  advance 
from  the  minutely  visible,  through  the  successive  realms 
of  the  invisible,  exploring  onward  towards  the  inmost 
shrine  of  nature,  new  scenes  of  beauty  would  be  inces- 
santly unfolded,  and  new  fields  of  divine  display  would 
continually  reveal  that  God  was  still  present  in  His 
creative  energy,  and  that  we  saw  but  the  "hidings"  of 
His  power  and  wisdom. 

The  microscope,  in  connection  with  heliography,  has 
become  indispensable.  By  a  simple  contrivance,  the 
minutest  infusoria  and  vegetable  monads  can  be  photo- 
graphed and  enlarged  to  almost  any  extent,  and  the  out- 
lines of  their  beautiful   and   delicate  germs   perfectly 


SS.6         THE  CAMERA  AND  THE  PENCIL. 

preserved.  The  minute  spots  and  striae  on  the  navicula ; 
the  structure  of  many  of  the  confervas ;  cross-sections  of 
many  of  the  polysphonise,  and  other  marine  algae,  have 
been  represented  by  the  aid  of  the  microscope  and  the 
camera  more  perfectly  than  it  could  be  done  with  human 
hands. 

The  reader  is  referred  to  Vol.  2d,  for  a  brief  de- 
scription of  the  mode  of  making  these  pictures ;  and 
if  amateurs  and  professionists  will  but  direct  their  atten- 
tion to  the  study  of  the  microscope,  they  will,  in  a  short 
time,  be  able  to  master  this  beautiful  branch  of  photo- 
graphy. 


OHAPTEE  XXIX. 

HISTORY  OF  THE  HELIOGRAPHIC  ART  IN  THE  UNITED  STATES. 

Camera  obscura — Professor  Draper's  early  researches — Used  bromine  and 
sensitive  paper  —  Made  the  first  sun-portrait  —  Professor  Morse's  early 
experiments  and  their  success — A.  S.  Wolcott  and  J.  Johnson — their  dis- 
coveries and  performances — Dr.  Bird — Joseph  Saxton,  first  daguerreotype  in 
Philadelphia — Drs.  Goddard  and  Parker — Professors  J.  Frazer  and  W.  R. 
•  Johnson — Messrs.  Mason  and  Cornelius — Professors  Grant  and  Davis — Drs. 
J.  E.  Parker  and  Wildman — Mr.  Reed — Mr.  Langenheim,  his  services  to 
heliography — First  brought  talbotype  and  stereoscope  to  United  States — 
Van  Loan,  Anthony,  Edwards,  N.  G.  Burgess,  Charles  Williamson,  Fizeau, 
Cady,  Gurney,  Brady,  Quail,  Haas,  and  Lavprence,  of  Nev?  York — Southwertb 
&  Hawes,  Whipple  &  Co.,  and  French,  of  Boston — Thompson,  Schriver. 
Mayall,  M.  A.  Root,  of  Philadelphia — Mr.  Root  bought  Mr.  Mayall's  stand, 
140  Chestnut  St.,  1846 — Beckers — Faris,  of  Cincinnati,  Ohio — Hesler,  of 
Illinois — Fitzgibbons,  of  Missouri — Crystal  Palace,  New  York — Shives — 
Howard — Sun-painters  in  United  States  —  Decline  of  daguerreotype  — 
McClees  &  Germon,  crystallotype — Collodion  process,  1852 — Drs.  Charles 
Cresson  and  Langdell — Cutting — Rehn's  Photolithography,  &c. 

It  will  not  be  irrelevant  to  the  following  history,  if  1 
preface  it  with  a  brief  extract  from  an  English  work  of 
a  century  or  more  old. 

•'•  We  may  well  imagine,"  says  its  author,  "that  could 
a  young  painter  but  view  a  picture  by  the  hand  of  nature 
herself,  and  study  it  at  his  leisure,  he  would  profit  by  it 
more  than  by  the  finest  performances  from  the  hand  of 
man. 

"Now  nature  is  constantly  forming  such  pictures  in 
our  eyes ;  the  solar  rays,  coming  from  exterior  objects, 
entering  the  pupil  and  being  refracted  by  the  crystalline 
22         -■>  (337) 


338         THE  CAMERA  AND  THE  PENCIL. 

ipns,  stamp  on  the  retina  at  the  bottom  of  the  eye  the 
object,  to  which  the  pupil  is  directed.  The  soul,  receiv- 
ing instant  intelligence  of  this  image,  sees  the  object  it 
represents. 

"  A  method  was  discovered  of  imitating  this  natural 
process,  entitled  the  camera  optica  or  obscura,  which 
may  be  named  '  an  artificial  eye,'  and  this  is  too  familiar 
to  the  reader  to  need  describing  here.  We  may  imagine 
how  the  pictures  thus  formed  must  have  charmed  the 
earliest  beholders.  Our  author  rises  into  enthusiasm  in 
their  description." 

He  remarks,  that  "the  best  of  the  modern  Italian 
painters  have  been  greatly  aided  by  the  instrument, 
as,  probably,  many  tramontane  artists  as  well." 

He  says,  he  "  was  present  when  an  able  artist  first 
saw  a  camera.  He  was  enraptured  with  it,  and  his 
delight  increased  the  longer  he  examined  it,  and  he  con- 
fessed, that  these  pictures  were  incomparable." 

"Another  of  equal  eminence,"  he  says,  "declared,  that 
an  academy,  with  the  camera  and  a  few  casts  of  the 
finest  Greek  busts,  would  alone  suffice  to  revive  the 
pictorial  art." 

Our  author,  therefore,  counsels  the  young  painter  to 
study  these  divine  pictures  his  life  long,  as  he  can  never 
give  them  too  much  attention. 

What  would  have  been  the  ecstasies  of  his  artist- 
friends  and  his  own,  could  they,  like  ourselves,  have 
seen  these  impressions  permanently  fixed,  and  even 
heightened  in  beauty  by  the  brilliancies  of  color  in  the 
hand  of  genius? 

Our  author,  however,  spoke  wisely  in  advising  the 
painter  to  study  assiduously  and  long  even  the  unstable 
images  projected  by  the  instrument.  Yei0  likely  such 
study  may  have  helped  the  great  masters  in  creating 


HISTORY  OF  THE  HELIOGEAPHIC  ART.  339 

tlieir  pictured  immortalities.  Yery  likely,  too,  the  sam^ 
study  may  have  been  one  among  the  causes,  that  impelled 
our  eminent  savant,  Professor  J.  W.  Draper,  M.D.,  to  go 
so  deeply  and  largely  into  those  studies  to  which  helio- 
graphy  is  related,  and  which,  among  numerous  dis- 
coveries, led  him  so  far,  that  he  was  able  to  make  the 
first  human  photographic  portrait  the  world  ever  saw. 
How  much  the  art  and  its  affiliated  sciences  are  indebted 
to  him  will  presently  appear. 

Desiring  to  give  an  authentic  history  of  the  introduc- 
tion of  heliography  into  this  country,  as  well  as  of  its 
subsequent  progress  therein,  I  addressed  letters  to  Pro- 
fessors John  W.  Draper  and  S.  F.  B.  Morse,  the  latter 
of  whom  brought  home  from  Europe  the  first  accounts 
on  the  subject,  which  were  published  in  the  New  York 
Observer,  requesting  of  them  to  detail,  for  my  use,  their 
earliest  experiences  in  the  art. 

Prof.  Draper,  in  his  reply,  referred  me  to  his  statement 
in  relation  to  the  matter  contained  in  a  communication 
to  the  New  York  Mechanics'  Institute,  of  which  the  fol- 
lowing are  extracts : 

"Nearly  ten  years  before  any  one  in  America  had 
turned  attention  to  the  subject,  I  had  been  occupied  with 
the  chemical  efiects  of  light,  and  had  published  in  the 
Journal  of  the  Franklin  Institute  and  elsewhere  a  good 
deal  in  relation  to  it. 

"  For  years  before  either  Daguerre  or  Talbot  had  pub- 
lished anything  on  the  subject,  I  had  habitually  used 
'  sensitive  paper'  for  investigations  of  this  kind.  It  was 
thus  (as  you  will  find  by  inspecting  the  above-named 
journal  for  1837),  that  I  had  examined  the  impressions 
of  the  solar  spectrum ;  proved  the  interference  of  chemical 
rays  (z.  e.  thigir  destroying  of  each  other's  effect);  investi- 
gated the  action  of  moonlight,  and  of  flames,  either  com- 


340         THE  CAMERA  AND  THE  PENCIL. 

mon  or  colored,  red  or  green ;  and  also  the  effects  of 
yellow  and  blue  solutions  and  other  absorbing  media ; 
the  decomposition  of  carbonic  acid  by  light,  &c.  In 
these  experiments  I  used  the  preparations  of  bromine, 
recently  so  much  spoken  of.  The  then  diiSiculty  was 
in  fixing  the  impressions.  I  had  long  known  what 
"Wedgwood  and  Davy  had  done  in  copying  objects ; 
had  amused  myself  with  repeating  some  of  their  experi- 
ments; and  had  even  tried,  though  unsuccessfully,  the 
use  of  hyposulphite  of  soda,  having  learned  its  proper- 
ties in  relation  to  the  chloride  of  silver  from  Herschel's 
experiments,  but  abandoned  it  because  I  found  it  re- 
moved the  blacks  no  less  than  the  whites.  This  want 
of  success  was  probably  owing  to  my  having  used  too 
strong  a  solution,  and  kept  the  paper  in  it  too  long. 

"  When  Talbot's  experiments  appeared  in  the  spring 
of  1839,  they  interested  me  greatly,  as  I  had  been  at  work 
so  many  years  on  the  action  of  light.  I  repeated  what 
he  published  with  variations.  I  tried  to  shorten  the 
long  time  required  for  getting  the  picture  of  a  house  or 
tree,  by  using  lenses  of  large  aperture  and  short  focus, 
and  from  this  germ  portraiture  finally  arose.  This  was 
prior  to  the  publication  of  anything  by  Daguerre. 

"It  was  during  my  repetitions  of  Talbot's  experiments, 
that  I  recognised  the  practical  value  of  the  experiments 
I  had  made  in  1835  and  published  in  1837,  respecting 
the  chemical  focus  of  a  non-achromatic  lens,  and  saw 
that  the  camera  must  be  shortened  in  order  to  obtain  a 
sharp  picture. 

"  My  first  knowledge  of  the  particulars  of  Daguerre's 
process  was  from  their  publication  in  the  London  Literary 
Gazette,  which  contained  Arago's  Eeport  of  the  meeting 
of  the  Academy  of  Sciences,  on  August  19th,  and  this  I 
saw  at  the  time  of  its  arrival  in  New  York.     I  do  not 


HISTOEY  OF  THE  HELIOGEAPHIC  ART.  341 

remember  the  date,  but  it  strikes  me  it  was  in  September. 
I  at  once  bougbt  some  of  the  common  silver-plated 
copper,  and  directly  after  tried  Daguerre's  process.  I 
believe  I  was,  at  that  moment,  the  only  person  in  Amer- 
ica, who  bad  any  practical  skill  in  experiments  witb 
light ;  but  then  I  had  had  ten  years'  experience  in  such 
matters.  Those,  who  know  the  failures  and  disappoint- 
ments, incident  to  photographic  experiments,  can  fully 
appreciate  the  worth  of  such  a  schooling  in  a  delicate 
operation  like  Daguerre's.  I  succeeded,  without  other 
difficulty  than  the  imperfection  of  the  silver-plating,  in 
copying  brick  buildings,  a  church,  and  other  objects  seen 
from  my  laboratory  windows. 

"I  now  returned  to  the  attempts  at  portraiture,  and 
upon  the  principles  I  had  ascertained  hefore  Daguerre's 
publication,  I  resorted  to  a  lens  of  five  inches  diameter 
and  seven  inches  focus,  which  I  still  have.  I  dusted 
the  sitter's  face  with  flour  and  pushed  the  back  of  the 
camera  to  the  violet  focus.  At  this  period  I  did  not  well 
understand  the  manner  of  illuminating  an  object,  and 
making  the  trial  in  a  room  succeeded  in  getting  an  im- 
pression. But,  observing  that  the  dark  spots  of  the 
dress  impressed  themselves,  I  perceived  it  was  needless 
to  whiten  the  face,  and  found  ou  trial,  that  the  forehead, 
cheeks,  and  chin,  whereon  the  light  fell  most  favorably, 
would  come  out  first.*  By  augmenting  the  illumination 
and  prolonging  the  time,  I  could  get  the  entire  counte- 
nance. At  this  time  the  problem  of  portraiture  might 
be  regarded  as  virtually  solved. 

"About  this  time  I  became  acquainted  with  Professor 
Morse,  and  we  subsequently  had  a  building  on  the  top 
of  the  New  York  University,  in  which  we  took  many 
portraits,  at  first  with  a  four-inch  lens,  and  then  with 

*  This  was  the  first  portrait  taken  from  life.   , 


342         THE  CAMERA  AND  THE  PENCIL. 

an  acliromatic  lens  and  plates,  both  French,  which  we 
imported. 

"In  March,  1840,  I  wrote  to  the  editors  of  the  London 
and  Edinburgh  Philosophical  Magazine,  stating  my  suc- 
cess in  solving  the  problem  of  photographic  portraiture ; 
and  in  the  following  September  I  published  a  detail  of 
the  whole  process.  Meanwhile  I  had  forwarded  speci- 
mens to  Europe,  and  had  received  letters  of  acknowledg- 
ment. 

"  From  the  foregoing  statements,  it  will  be  seen  that 
my  connection  with  portraiture  dates  back  to  the  summer 
preceding  the  publication  of  Daguerre's  process ;  that  I 
had  secured  various  partial  successes ;  but  that  within  a 
day  or  two  after  the  daguerreotype  was  made  known 
here  by  the  above  gazette,  I  had  accomplished  the 
object. 

"  Photographic  portraiture  implies  the  use  of  a  lens  of 
large  aperture  and  short  focus,  together  with  a  know- 
ledge of  the  correction  for  the  chemical  focus,  and  per- 
haps the  use  of  bromine.  All  these  things  I  knew  before 
Daguerre  was  named  on  this  side  the  Atlantic.  How  any 
doubt  can  now  be  entertained  as  to  who  took  the  first 
sun-portrait,  passes  my  comprehension. 

Yours,  truly, 

Messrs.  Stetson,  Cohen,  Seely,  J.  W.  Draper. 

Committee   of  Mechanics'    Club." 

The  remark  in  the  closing  sentence  of  the  above  inter- 
esting letter  is  confirmed  by  the  following  extract  from 
an  article,  by  Sir  David  Brewster,  in  the  Edinburgh 
Eeview  for  January  1843 : — 

"Dr.  Draper,"  we  believe  "was  the  first  who,  under 
the  brilliant  summer  sun  of  New  York,  took  daguerreo- 
type portraits.     This  branch  of  photography  seems  not 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  343 


to  have  been  regarded  as  a  possible  application  of 
DagueiTe's  process,  and  no  notice  is  taken  of  it  in  the 
reports  to  the  French  legislative  bodies.  We  have  been 
told,  that,  at  that  period,  Daguerre  had  taken  no  por- 
traits, and  when  we  consider,  that  twenty  or  twenty-five 
minutes  were  then  deemed  necessary  to  get  a  dagij^reo- 
type  landscape,  we  do  not  wonder  that  portraiture  was 
unthought  of  in  this  connection," 

Besides  those  mentioned  in  his  letter.  Professor  Draper 
has  published  numerous  other  memoirs,  having  more  or 
less  connection  with  the  heliographic  art :  e.  g.,  on  the 
analogy  of  the  chemical  rays  and  radiant  heat ;  on  spec- 
tral appearances  and  latent  light;  on  the  tithonometer,  an 
instrument  for  measuring  the  chemical  or  actinic  power 
of  the  sunbeam  ;  on  a  new  imponderable ;  on  the  nega- 
tive rays  of  the  sun;  on  the  phosphorescence  of  bodies, 
&c.  These  are  a  portion  of  a  series  of  papers  which, 
collected,  would  make  a  considerable  volume.  Many 
were  published  in  London,  and  have  been  translated  into 
the  languages  of  Germany,  France,  and  Italy,  and  pub- 
lished in  those  countries.  Many,  too,  may  be  found  in 
the  Franklin  Institute  Journal  from  1834  to  1839.  Be- 
sides all  these,  he  has  written  a  treatise  on  physiology, 
illustrated  by  himself,  by  means  of  micro-photography. 
He  was  chosen  first  president  of  the  New  York  Photogra- 
phical  Society,  and  has  been  annually  re-elected  until  now. 
He  continues  to  investigate  every  new  phase  of  the  art, 
and  is  one  of  the  best  practitioners  among  our  scientific 
amateurs.  His  son,  Dr.  Henry  Draper,  has  constructed 
the  largest  reflecting  telescope  ever  made  in  the  United 
States;  and,  with  it,  has  taken  perfect  photographs  of  the 
moon,  over  two  feet  in  diameter.  He  has  favored  me  with 
many  facts  on  Lunar  Photography,  Actinism,  &c.,  and 
has  kindly  aided  me  with  his  counsels  and  suggestions 


344         THE  CAMEEA  AND  THE  PENCIL. 

in  the  preparation  of  this  work,  whicli  I  take  this  occa- 
sion to  thankfully  acknowledge.  Within  the  present 
year  he  has  published  an  octavo  entitled  :  "  The  History 
of  the  Intellectual  Development  of  Europe ;"  a  work 
pronounced  by  many  his  chef  d'  oeuvre,  and,  like  his 
other  writings,  not  only  doing  great  credit  to  himself, 
but  reflecting  high  honor  on  the  American  name.  Our 
limits  forbid  our  speaking  more  fully  of  his  multitudi- 
nous performances. 

I  mentioned,  that  I  wrote  to  Professor  Morse,  as  well 
as  to  Professor  Draper.  My  letter  to  the  former  con- 
tained the  following  queries,  viz.: 

1st.  When  did  you  commence  your  (photographic) 
experiments  ?  I  was  told  by  an  Englishman  (name  lost), 
that  your  first  successful  effort  was  an  impression  of  your 
coat  hanging  upon  the  wall.     Is  this  the  fact  ? 

2d.  How  long  was  the  time  required  to  obtain  this 
impression  ? 

3d.  Of  what  kind  were  the  instruments  employed  by 
you? 

4th.  Who  first  followed  you  in  your  experiments  ? 

5th.  Who  began  the  taking  of  portraits  ? 

6th.  Who  made  the  first  portrait  in  New  York  city  ? 

The  professor's  very  obliging  reply  was  as  follows : 

PouGHKEEPSiE,  Feb.  10th,  1855. 
My  dear  Sir  : — 

Yours  of  January  30th  I  found  on  my 
table,  on  my  return  to  New  York,  after  an  absence  of 
some  days.  I  hav«  been  and  am  still  much  occupied, 
but  will  give  you  as  satisfactory  answers  as  I  can,  to 
your  questions. 

To  question  1st,  I  answer,  that  I  was  in  Paris  when 
Daguerre's  discovery  was  announced  in  the  winter  of 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  345 

1838-9.  Early  in  the  spring  of  1839,  I  Bad  the  gratifi 
cation  of  being  invited  by  Daguerre  to  see  bis  results  in 
private.  He  bad  not  tben  sbown  tbem,  except  to  tbc 
Royal  Family,  to  Arago,  and  to  a  few  others.  His 
process  was  tben  secret,  awaiting  the  action  of  the  Gov- 
ernment, respecting  the  pension  to  be  granted  him  in 
case  be  would  publish  bis  process.  My  letter,  announcing 
the  discovery  and  my  examination  of  the  results,  was 
written  to  my  brothers,  the  editors  of  the  New  York 
Observer,  about  the  first  week  in  March  1839,  and  was 
published  by  them,  I  think,  in  April  following.  This 
was  the  first  knowledge  of  the  discovery  obtained  by  the 
American  people.  In  July  or  August  of  the  same  year, 
I  think,  Daguerre  received  his  pension,  and  the  process 
was  published.  Some  copies  of  the  work  were  imme- 
diately sent  to  this  country,  one  of  which  I  received  the 
latter  part  of  August  or  September ;  and  immediately  I 
bad  made  for  me  the  apparatus  from  the  description  in 
the  book.  This,  I  find,  answers  questions  yi?-5i!  and  third. 
To  question  2d,  I  repl}'-,  that  as  soon  as  the  apparatus 
was  made,  I  commenced  experimenting  with  it.  The 
greatest  obstacle  I  had  to  encounter  was  in  the  quality 
of  the  plates.  I  obtained  the  common  plated  copper  in 
coils  at  the  hardware  shops,  which  of  course  was  very 
thinly  coated  with  silver,  and  that  impure.  Still  I  was 
enabled  to  verify  the  truth  of  Daguerre's  revelations. 
The  first  experiment,  crowned  with  any  success,  was  a 
view  of  the  Unitarian  Church,  from  the  window  on  the 
staircase,  from  the  third  story  of  the  New  York  City 
University.  This,  of  course,  was  before  the  building  of 
the  New  York  Hotel.  It  was  in  September,  1839.  The 
time,  if  I  recollect,  in  which  the  plate  was  exposed  to  the 
action  of  light  in  the  camera,  was  about  fifteen  minutes. 
The  instruments,  chemicals,  &c.,  were  strictly  in  accord- 
ance with  the  directions  in  Dagfuerre's  first  book. 


34:6         THE  CAMERA  AND  THE  PENCIL. 

To  question  4t'h,  I  answer,  that  there  were  several  per- 
sons who  immediately  began  experimenting.  An  English 
gentleman,  whose  name  at  present  escapes  me,  but  who 
is  (I  believe)  now  living  in  Mexico,  obtained  a  copy  of 
Daguerre's  book,  about  the  same  time  with  myself.  He 
commenced  experimenting  also. 

But  an  American,  named  Wolcott,  was  very  successful 
with  a  modification  of  Daguerre's  apparatus — substitu- 
tuting  a  metallic  reflector  for  the  lens.  Previous,  how- 
ever, to  Wolcott' s  experiments,  my  colleague  and  friend, 
Professor  John  W.  Draper,  of  New  York  City  University, 
was  very  successful  in  his  investigations ;  and  with  him 
I  was,  for  a  time,  engaged  in  attempting  portraits. 

As  to  taking  portraits,  in  answer  to  your  5th  question, 
I  would  say,  that  in  my  intercourse  with  Daguerre,  I 
specially  conversed  with  him  in  regard  to  the  practica- 
bility of  taking  portraits  of  living  persons.  I  well  re- 
member that  he  expressed  himself  somewhat  sceptical 
as  to  its  practicability,  only  in  consequence  of  the  time 
necessary  for  the  person  to  remain  immovable. 

The  time  for  taking  an  out-door  view  was  from  fifteen 
to  twenty  minutes;  and  this  he  considered  too  long  a 
time  for  any  one  to  remain  sufficiently  still  for  a  success- 
ful result.  No.  sooner,  however,  had  I  mastered  the 
process  of  Daguerre,  than  I  began  to  experiment  with  a 
view  to  accomplish  this  desirable  result.  I  have  now 
the  fruits  of  these  experiments,  taken  in  September  or 
the  beginning  of  October,  1839.  They  are  full-length 
portraits  of  my  daughter,  single,  and  also  in  group  with 
some  of  her  young  friends.  They  were  taken  out  of 
doors,  on  the  roof  of  a  building,  in  the  full  sun-light,  and 
with  the  eyes  closed.  The  time  was  from  ten  to  twenty 
minutes.  The  following  is  a  transcript  of  the  daguerreo- 
type alluded  to. 


HISTORY  OF  THE  HELIOGRAPHIC  ART. 


347 


(Fig.  6.) 


As  the  eyes  in  tlie  dagaerreotype,  from  which  the 
above  engraving  is  copied,  were  tolerably  well  defined, 
we  presume,  that,  at  the  taking,  they  were  open  a  part 
of  the  time,  and  a  part  of  the  time  closed.  Therefore, 
we  represent  them  as  open. 

About  the  same  time,  Professor  Draper  was  successful 
i  1  taking  portraits ;  though  whether  he  or  myself  took 
the  first  portrait,  I  cannot  say.  Soon  after,  we  com- 
menced together  taking  portraits ;  causing  a  glass  build- 
ing to  be  constructed  for  that  purpose  on  the  roof  of  the 


348         THE  CAMERA  AND  THE  PENCIL, 

University.  As  our  experiments  had  put  us  to  consider- 
able expense,  we  made  a  charge  to  those  who  sat  to  us, 
to  defray  this  expense. 

To  the  6th  question,  the  foregoing  is,  to  some  extent, 
an  answer.  But  Professor  Draper's  other  duties  calling 
him  away  from  the  experiments,  except  as  to  their  bear- 
ing on  some  philosophical  investigations,  which  he  pur- 
sued with  great  ingenuity  and  success,  /  was  left  to 
pursue  the  artistic  results  of  the  process,  as  more  in 
accordance  with  my  own  profession.  My  expenses  had 
been  great,  and  for  some  time  (five  or  six  months),  I 
pursued  the  taking  of  portraits  by  the  daguerreotype,  as 
a  means  of  reimbursing  these  expenses.  After  this 
object  had  been  attained,  I  abandoned  the  practice  to 
give  my  exclusive  attention  to  the  telegraph,  which 
required  my  whole  time, 

I  have  thus  given  you  a  hasty  reminiscence,  which,  I 
hope,  may  serve  your  purpose. 

Respectfully,  your  obedient  servant, 
M.  A.  Root,  Esq.,  Samuel  F.  B.  Morse. 

Philadelphia. 

At  a  session  of  the  Mechanics'  Club,  April  14th,  1858, 
Mr.  John  Johnson  detailed  the  early  attempts  at  daguer- 
reotype portraiture,  illustrated  by  the  apparatus  employed 
in  1839,  by  specimens  of  pictures,  and  by  original  docu- 
ments of  that  period.  He  was  of  the  firm  of  Wolcott 
(Alexander  S.)  &  Johnson  (John),  who  commenced  work- 
ing the  daguerreotype  process  soon  after  its  publication 
in  this  country,  October  6th,  1839.  About  this  time, 
they  obtained  two  pretty  successful  impressions,  one 
positive  and  the  other  negative,  a  fact  which  perplexed 
them  not  a  little.  Their  first  portrait  was  made  on  the 
6th  or  7th  of  October, 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  349 

Early  in  February,  1840,  Johnson,  Senior,  visited 
England,  and  arranged  witli  Eev.  Eichard  Baird  to 
patent  and  woi'k  in  that  country  an  apparatus  got  up  by 
Mr.  AVolcott.  The  latter,  after  examining  the  camera 
described  by  Daguerre,  thought  that  an  image  could  be 
obtained  in  less  time,  than  by  that,  by  employing  a 
reflector  of  wide  aperture  and  short  focus.  Therefore 
a  reflector,  designed  for  taking  portraits  from  life,  was 
determined  on,  having  eight  inches  diameter,  and  twelve 
inches  focal  distance  for  parallel  rays.  While  engaged 
upon  this,  Mr.  Henry  Fitz,  who  had,  in  former  times, 
been  associated  with  Mr.  Wolcott,  and  was  well  versed 
in  optics,  returning  from  abroad,  offered  Mr.  Wolcott  his 
valuable  aid.  This  was  gladly  accepted ;  the  reflector 
was  properly  polished,  and  experiments  in  daguerreotypy 
were  tried  with  tolerable  success.  It  was  this  apparatus 
for  which  English  patents  were  obtained  by  Johnson,  Sr., 
and  Eev.  Mr.  Baird,  and  enrolled  June  14th,  1840,  it 
having  been  previously  exhibited  in  London,  March  23d, 
1840. 

Mr,  Johnson,  Sr.,  paid  Daguerre  £150  for  the  use  of  his 
process,  as  Claudet  subsequently  paid  him  £200  for  the 
privilege  of  using  three  cameras.  Still  later,  Eev.  Mr. 
Baird  purchased  the  whole  of  Daguerre's  right  in  England. 

On  May  8th,  1840,  Mr,  Wolcott  procured  an  American 
patent  for  his  reflecting  apparatus. 

Mr.  John  Johnson  seems  to  be  of  opinion,  that  Mr. 
Wolcott  and  himself  were  the  first  who  took  portraits  in 
New  York  by  Daguerre's  process.  The  first  after  them 
(he  says)  was  a  Mr.  Prosch,  who  was  followed  by  numer- 
ous others,  most  of  whom  employed  Wolcott's  reflector. 
Till  the  beginning  of  1840  (he  continues),  no  means  of 
abbreviating  the  time  of  sitting  for  a  portrait  was  in  use,  or 
had  even  been  attempted,  save  Wolcott's  instrument  above 


350         THE  CAMERA  AND  THE  PENCIL. 

mentioned.  Early  in  this  year,  Wolcott  tried  bromine 
for  this  purpose,  but  unsuccessfully.  Mr.  Johnson  inti- 
mates, that  he  and  Wolcott  were  the  first  users  of  this 
chemical  in  New  York.  He  moreover  states,  that  he 
and  his  establishment  were  the  earliest  to  employ  chloride 
of  iodine  to  secure  short  sittings.  He  further  declares 
that,  in  1842,  he  discovered  a  combination  of  chemicals 
(now  known  in  London,  as  "Wolcott's  mixture"),  which 
was  very  sensitive  to  the  action  of  light. 

Our  limits  allow  us  no  further  present  space  for  Mr. 
Johnson's  reminiscences.  If  the  seeming  clash  between 
some  of  his  statements  and  those  of  Professors  Draper  and 
Morse,  be  pronounced  by  our  readers  a  real  one,  it  is 
beyond  our  power  to  harmonize  them,  and  we  must  leave 
to  each  individual  to  settle  his  own  views. 

I  now  proceed  to  detail  summarily  the  progress,  in  the 
United  States,  of  the  art  thus  introduced. 

In  1839,  and  on  the  very  day  of  the  publication  of 
Daguerre's  discovery  in  the  Philadelphia  daily  papers, 
Dr.  Bird,  then  chemical  professor  in  one  of  our  medical 
schools,  was  asked,  at  a  gathering  of  several  scientific 
men,  what  he  thought  of  this  new  mode  of  copying 
objects  with  the  sunbeam  ? 

The  Doctor,  in  a  lengthened  reply,  pronounced  the 
whole  report  a  fabrication — a  new  edition  of  the  famed 
"moon-hoax" — such  a  performance  being,  in  his  view, 
an  intrinsic  improbability. 

Much  to  his  credit,  however,  he  soon  after  gave  the 
subject  a  thorough  investigation,  and  examining,  with 
the  requisite  appliances,  eveiy  nev/  phase  assumed  by 
the  art,  he  mastered  each  successive  discovery  and  im- 
provement as  fast  as  they  appeared,  so  that,  at  his 
decease  in  1854,  he  was  probably  the  ablest  writer  on 
sun-painting  in  the  United  States. 


HISTORY  OF  THE  HELIOGRAFHIC  AliT.  301 

Joseph  Saxton,  a  cultured  man  of  genius  (who  was  not 
present  on  the  above  occasion),  had,  on  the  day  in  ques- 
tion, carefully  examined  the  same  subject,  and  had  con- 
cluded that  Daguerre's  announcement  was  literal  truth. 
He  forthwith  proceeded  to  experiment  in  the  art,  accord- 
ing to  the  following  method. 

He  constructed  a  camera  by  fixing  an  ordinary  sun- 
glass in  one  end  of  a  cigar-box ;  while  a  seidlitz  powder 
box,  with  an  aperture  in  its  top  somewhat  smaller  than 
the  plate  to  be  used,  and  containing  a  few  flakes  of  dry 
iodine,  served  as  a  coating  box.  His  mercury-bath  was 
made  by  excavating  a  hole  through  a  dogwood-block, 
and  attaching  thereto  a  piece  of  sheet  iron  so  bent,  as  to 
hold  a  little  quicksilver.  And  finally,  for  a  plate,  he 
burnished  a  piece  of  silver  one  and  quarter  by  two 
inches  in  size. 

With  these  primitive  implements  he  produced,  that 
day,  the  first  heliograph  ever  made  in  Philadelphia,  a 
transcript  of  which,  in  size  and  appearance,  can  be  seen 
on  next  page.  The  original  was  recently  presented  to 
me  for  this  illustration  by  a  member  of  the  Philadelphia 
Historical  Society,  George  M.  Justice,  to  whom  it  be- 
longed. The  picture  represents  the  old  Arsenal  and  the 
cupola  of  the  old  Philadelphia  High  School,  taken  from 
a  window  of  the  United  States  Mint,  in  which  Mr.  S.  was 
an  ofl&cial. 

I  have  in  my  possession  another  view  taken  by  him, 
soon  after,  from  the  same  Window,  and  representing 
certain  buildings  west  of  Broad  street.  It  was  presented 
to  me  by  Mr.  Saxton  himself. 

These  heliographs  naturally  created  no  small  excite- 
ment among  the  curious  in  such  matters ;  and  from  this 
date  many  of  our  Philadelphia  savans  began  cultivating 
the  art. 


852 


THE  CAMERA  AND  THE  PENCIL. 


(Fig.  7.) 


Among  these  were  Eobert  Cornelius,  Drs.  Paul  Beck 
Goddard,  Parker,  Bird,  and  Kennedy,  Professors  John 
Frazer,  and  Walter  E.  Johnson,  William  Gr.  Mason, 
engraver,  Dr.  Wildman,  and  many  others.  Some  of 
these  have  kept  pace  with  the  progress  of  the  art,  through 
all  its  phases,  while  contributing  largely  thereto. 

In  the  United  States,  Dr.  Goddard  (at  the  time  engaged 
with  Dr.  Hare,  Professor  of  Chemistry  in  the  Pennsyl- 
vania University)  merits  special  mention  for  his  services 
to  the  new  art.  His  claim  to  the  introduction  of  bromine, 
as  a  sure  and  valuable  accelerator,  is  sustained  by  the 
record  of  it  in  the  Journal  of  the  American  Philosophi- 
cal Society  for  1840. 

In  English  heliographic  works,  John  Goddard,  a  Lon- 
don optician,  has  erroneously  received  the  credit  of 
having  earliest  suggested  this  use  of  bromine. 

In  Daguerre's  process,  dry  iodine  had,  hitherto,  been 
exclusively  employed  for  acceleration.     This  substance, 


HISTORY  OF  THE  HELIOGEAPHIC  ART. 


353 


(Fig.  8.) 


however,  is  slow-acting  even  for  views ;  while  for  por- 
traiture, its  use,  by  itself  solely,  is  impracticable. 

In  1839,  Professor  Grrant,  of  "  Calcium  Light"  noto- 
riety, and  Mr,  Davis,  of  Boston,  Massachusetts,  made 
daguerreotypes,  on  the  third  day  after  the  discovery  was 
published  in  Boston. 

The  first  Philadelphian  who  produced  portraits,  was 
Eobert  Cornelius.  Importing  his  lenses,  he  himself 
manufactured  the  cameras,  plates,  and  mats,  he  employed. 
For  coating  the  plates,  he  used  dry  iodine  exclusively ; 
and  by  several  large  reflectors,  set  at  different  angles, 
both  within  doors  and  without,  he  was  enabled,  in  strong 
sunshine,  to  concentrate  upon  his  sitter  light  enough  to 
obtain  through  a  side-window  facing  south,  an  impression 
within  from  one  to  five  minutes.  (See  Fig.  8.)  Mr. 
Cornelius  obtained  much  of  his  knowledge  of  the  proper 
mode  of  proceeding,  e.  g.  the  arrangement  of  lights  and 
shadows,  the  use  of  reflectors,  &c.,  from  a  visit  to  the 
rooms  of  Wolcott  &  Johnson,  corner  of  Chambers  Street 
23 


854         THE  CAMEEA  AND  THE  PENCIL. 

and  Broadway,  New  York.  These  gentlemen  were  taking 
portraits  at  the  date  of  this  visit,  which  (Mr.  Johnson 
thinks)  was  early  in  April,  1840,  and  theirs  were  the 
first  rooms  open  for  portraiture  in  the  United  States. 
Meanwhile  Dr.  Groddard,  privately  experimenting  for  the 
discovery  of  an  accelerator,  had,  with  bromine,  gotten 
views,  and  even  portraits,  in  the  open  air  instantaneously. 

Subsequent  to  this  discovery  of  his,  Mr.  Cornelius, 
with  bromide  of  iodine,  procured  fair  impressions,  even 
without  reflectors,  in  from  ten  to  sixty  seconds — and 
this  too  within  doors. 

It  was  auspicious  for  the  new  art,  that  it  won  the 
interest  of  the  distinguished  dental  surgeon,  of  Philadel- 
phia, Dr.  J.  B.  Parker.  At  this  early  date  he  surpassed 
all  others  in  producing  out- door  views  of  street-scenes, 
buildings,  &c.  He  and  Mr.  Reed,  an  ingenious  silver- 
plate  manufacturer,  effected  numerous  improvements  in 
the  apparatus  used.  Their  bromine-box,  alike  peculiar 
and  admirable  in  construction,  was  charged  with  pure  bro- 
mine, and  is  yet  in  the  Doctor's  possession  in  good  work- 
ing order.  Dr.  P.  is  also  among  our  ablest  microscopists, 
and  takes  a  deep  interest  in  micro-photography  and  the 
progress  of  the  art  generally. 

Mr.  Mason  having,  as  a  professed  engraver,  been  pre- 
viously skilled  in  metal-polishing,  very  naturally  excelled 
in  preparing  plates.  For  cleansing,  he  used  clean,  fine 
cotton-wool  together  with  well  washed  rotten-stone.  And 
for  polishing  he  employed  rouge  on  a  small  hand-buff, 
made  of  a  wooden  block,  about  two  and  a  half  by  three 
inches  in  dimensions,  covered  either  with  common,  or  cot- 
ton flannel  in  five  or  six  thicknesses,  over  which  was  drawn 
fine  buckskin;  and  on  this  buff  the  rouge  was  thrown 
by  striking  thereon  the  muslin  bag  containing  the  same. 
The  buff'  was  rubbed  circularly  over  the  plate,  which  was 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  355 

held  fast  by  sealing  wax  upon  a  block  matching  the 
plate  in  size. 

In  1839  Mr.  M.  produced,  by  the  light  of  a  small  gas- 
burner,  a  perfect  copy  of  a  certain  engraving.  This  was, 
probably,  the  first  picture  ever  taken  by  artificial  light. 
It  is  still  perfect,  and  remains  in  his  possession.  The 
exposure  was  one  hour.  He  also  made  a  daguerreotype 
on  steel  at  this  date,  which  he  presented  to  the  writer.  Mr, 
Mason's  pictures  exhibited  a  pure  and  exquisitely  finished 
surface.  And  indeed  some  of  the  heliographs  produced 
at  that  early  period  (1839  and  1840,  or  twenty-four  years 
ago)  by  him,  as  also  by  Messrs.  Goddard,  Cornelius,  and 
Parker,  are  rarely  transcended  even  now,  despite  the 
improvements  made  in  the  art  and  its  appliances. 

Among  these  early  amateurs  was  Dr.  Wildman,  a 
gentleman  of  considerable  mechanical  genius,  a  most 
able  practising  dentist,  and  skilful  manufacturer  of  artifi- 
cial teeth.  At  that  date,  and  without  receiving  any  aid 
or  suggestions  from  the  experiments  of  others,  he  pro- 
duced several  views,  which,  for  beauty  of  delineation  and 
tone,  for  fidelity  of  detail,  and  for  artistic  effect,  have 
never  been  surpassed  even  to  this  day.  They  are  still 
perfect,  and  promise  to  endure  for  ages. 

The  earliest  experiments  were  performed,  either  with 
single  lenses,  or  with  plano-convex  lenses  variously  com- 
bined. These  were  succeeded  by  the  achromatic  object- 
glasses  of  Voigtlander  &  Sons,  of  Vienna,  after  Professor 
Petzval's  calculation.  The  latter  were  introduced  into 
the  United  States  by  Langenheim,  Voigtlander's  brother- 
in  law.  He  took  up  the  art  where  Cornelius  left  it,  and 
for  several  years  was  the  leading  photographer,  not  only 
in  Philadelphia,  but  probably  in  the  world.  And  the 
fact  should  be  commemorated,  that  he  has  done  as  much 
as,  if  not  more  than,  any  other  to  advance  this  art,  and 


356  THE  CAMERA  AND  THE  PENCIL. 


render  it  worthy  the  notice  of  the  most  intelligent  and 
cultured  classes  in  the  community.  In  just  recognition 
of  his  liberality,  skill,  and  artistic  enthusiasm,  six  or 
seven  valuable  gold  medals  were  conferred  upon  him  by 
European  sovereigns,  on  their  receiving  from  him  a  large 
panorama  of  Niagara  Falls. 

In  1848,  he  introduced,  at  great  expense,  the  talbotype 
into  the  United  States,  by  which  he  printed  from  paper 
negatives. 

In.l850  he  also  introduced  the  stereoscope  here,  and 
by  his  efforts  the  American  Stereoscopic  Company  was 
established.  After  this  had  been  effected  by  many  years' 
hard  labor,  and  the  public  had  learned  to  appreciate  and 
demand  these  interesting  pictures  of  scenes  and  objects 
both  familiar  and  distant,  the  London  Stereoscopic  Com- 
pany was  encouraged  to  send  hither  an  artist  to  take 
views,  as  also  to  establish  an  agency  in  New  York.  By 
this  agency,  with  the  furtherance  of  the  booksellers  in 
our  large  cities,  the  stereoscope  has  been  circulated 
throughout  the  land,  and  thousands  of  families  a.re  draw- 
ing alike  entertainment  and  instruction  from  this  beauti- 
ful variety  of  the  solar  sketch. 

Professors  Draper  and  Morse,  Dr.  Chilton,  and  Messrs. 
Wolcott,  Johnson,  Fitz,  &c.,  of  New  York,  appear  to 
have  commenced  experimenting  with  the  daguerreotype, 
about  simultaneously  with  our  Philadelphia  savans. 
They  continued  practising  the  art  as  amateurs,  improv- 
ing, the  while,  its  instruments  and  manipulative  methods 
until  its  practicability  and  utility  were  both  demon- 
strated. 

Mr.  Johnson,  of  New  York,  claims  that  Wolcott  & 
Johnson  were  the  first  to  make  photographic  portraiture 
a  profession  for  pay  in  that  city.  He  says,  that  all  the 
time  they  could  so  use  was  devoted  to  this  object,  and  to 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  357 

preparing  apparatus,  plates,  &c.,  long  before  the  close 
of  1839,  and  subsequently  still  more  vigorously,  while 
they  were  preparing  rooms  for  the  purpose. 

In  the  Journal  of  the  Franklin  Institute,  for  October, 
1839,  Professor  J.  F.  Frazer,  of  Philadelphia,  published 
a  translation  (made  by  himself  from  the  French)  of  a  full 
and  detailed  description  of  the  new  sun-painting  process 
discovered  by  Daguerre.  Following  the  directions  there- 
in given,  he  succeeded  in  producing  a  daguerreotype 
picture.  His  further  prosecution  of  the  study  of  the  art 
was  prevented  by  the  pressing  duties  of  his  professor- 
ship, and  the  specimen  he  then  produced  has  unfortu- 
nately got  lost.  For  the  amount  of  practical  interest, 
however,  then  taken  by  him  in  heliography,  we  are 
happy  to  give  him  this  mention  among  its  earliest 
devotees. 

At  a  visit  made  by  Niepce,  the  after-associate  of 
Daguerre,  to  England,  in  1827,  he  exhibited  to  his 
friends,  and  left  with  them,  several  specimens  of  sun- 
limnings,  produced  by  himself,  nearly  as  perfect  as  those 
of  Daguerre,  made  public  in  1839. 

Mr.  Bauer,  one  of  these  friends,  says  he  received  from 
Niepce  copies  of  engravings,  fixed  permanently  by  the 
action  of  light ;  copies  of  scenes  from  nature ;  also 
metallic  plates  thus  engraved,  and  engravings  copied 
therefrom.  Mr.  Bauer's  belief  was,  that  no  engraving 
tools  were  employed  upon  these,  but  that  the  drawings 
were  fixed  by  the  action  of  light,  and  the  plates  subse- 
quently engraved  by  a  chemical  process  discovered  by 
Niepce. 

As  early  as  1829,  Niepce  and  Daguerre  formed  an 
agreement  to  prosecute  the  new  art  together. 

At  the  inauguration  of  the  opening  of  a  railroad  to 
Courtrai,  Belgium,  in  1839,  a  daguerreotype  picture  was 


358  THE  CAMERA  AND  THE  PENCIL, 

taken  of  tlie  locomotive-engine,  the  wagon,  train,  and 
cortege,  &c.,  exactly  at  the  moment  when  the  inaugura- 
tion address  was  commenced.  The  time  required  for 
taking  the  impression  was  seven  minutes. 

It  was  reported  that  the  Eussian  Czar  offered  Daguerre 
500,000  francs  ($100,000)  for  his  secret,  which  was 
refused.  Daguerre  got  from  his  own  government  only 
a  6000  franc  pension  per  annum,  which  was  only  the 
6  per  cent,  interest  of  100,000  francs;  i.e.  $1200  per 
year. 

As  we  have  before  stated  in  another  place,  the  first  who 
took  portraits  in  Philadelphia  was  Robert  Cornelius — fol- 
lowed by  Thompson,  Retzer,  and  John  Plumb,  for  whom 
Truman  Shew  acted  as  agent.  The  earliest  daguerreotype 
portrait  from  life,  taken  in  Philadelphia,  was  probably 
one  of  Dr.  Kennedy,  the  principal  of  the  Polytechnic 
Institute,  by  the  late  Professor  "Walter  R.  Johnson 
in  1839. 

The  first  portrait  of  this  kind,  made  and  sold  in  Phila- 
delphia, was  one  of  our  long  and  well-known  optician, 
John  McAllister  (founder  of  the  house,  now  entitled 
McAllister  Brothers),  by  Robert  Cornelius,  now  the  head 
of  the  firm  of  Cornelius,  Baker  &  Co.,  our  enterprising 
chandelier  manufacturers. 

Fizeau's  discovery  of  the  process  for  securing  the 
impression  on  the  plate  by  a  coating  of  gold,  which  was 
introduced  into  Paris,  in  1842,  was  soon  after  brought 
to  the  United  States. 

Laborde,  Professor  of  Sciences  in  Corbigny,  Navarre, 
was  the  first  to  recommend  coating  the  plate  a  second 
time,  or  returning  it  from  over  the  bromine  back  again 
to  over  the  iodine,  for  a  short  time,  before  exposing  it  in 
the  camera.  This  great  improvement,  which  completely 
changed  the  cold  blue  linen  collars,  shirt-bosoms,  &c.,  to 


HISTORY  OF  THE  HELIOGRAPHIC  AET.  359 

a  pure  natural  white,  was  introduced  into  Philadelphia 
bj  Samuel  Yan  Loan,  and  into  the  country  at  large  by 
John  Johnson,  of  New  York,  early  in  1844. 

The  earliest  implements  used  by  our  heliographic 
operants  were  rude  indeed,  and  their  failures,  of  course, 
numerous.  Vigilance,  however,  and  persistent  energy 
would  achieve  an  occasional  success.  Such  a  specimen 
would  be  circulated  among  friends,  as  a  something  mar- 
vellous; although,  as  compared  with  some  of  the  best 
present  productions  of  the  art,  it  may  have  been  a  flat, 
indistinct,  leaden-looking  thing,  which  a  breath  might 
almost  blow  away.  For  the  now  familiar  process  of 
securing  the  impress  by  gilding  was  then  unknown. 

After  the  successful  experiments  of  Messrs.  Draper  & 
Morse,  in  New  York,  and  of  Cornelius,  in  Philadelphia, 
together  with  the  improvements  made  by  them  and  others 
in  the  heliographic  apparatus  and  manipulative  methods, 
and  the  great  advance  consequent  thereon  in  the  mode 
of  obtaining  portraits  from  life,  quite  a  number  of  persons 
directed  their  attention  to  the  art  from  the  hope  of 
making  it  a  source  of  profit.  They  secured  the  services 
of  individuals  possessing  activity  and  mechanical  skill, 
who  contributed  to  the  progress  of  the  art  and  its  rapid 
introduction  to  public  notice.  Thus  the  chief  towns  of 
the  Union  became,  ere  long,  familiar  with  the  produc- 
tions of  the  solar  pencil. 

Among  the  most  prominent  of  those  who  earliest 
entered  this  field,  were  the  elder  Yan  Loan,  Anthony, 
Edwards,  &c.,  in  New  York ;  Southworth  in  Boston ;  and 
Thompson  in  Philadelphia.  Thompson  was,  in  1855, 
the  leading  American  heliographer  in  Paris. 

J.  Gurney  commenced  practising  the  art  in  1841,  and 
has  closely  applied  himself  thereto  ever  since  (twenty-two 
years)  in  all  its  phases.     He  has  uniformly  striven  to 


860         THE  CAMERA  AND  THE  PENCIL. 

make  it  a  reputable  vocation,  by  producing  the  finest 
possible  specimens  in  tbe  various  styles  of  the  art. 

Mr.  A.  Morand  commenced  practice  in  1841,  and  has 
continued  it  with  the  feeling  of  a  true  artist  down  to  the 
present  date.  He  succeeded  the  elder  Van  Loan,  corner 
of  Chambers  Street  and  Broadway,  New  York,  In  1842, 
he  introduced  the  daguerreotype  into  Brazil,  South 
America.  He  waited  upon  the  emperor,  Don  Pedro  II., 
and  took  daguerreotypes  for  him,  his  family,  and  many 
of  his  friends.  He  took  one  instantaneous  portrait  of  his 
majesty,  as  he  alighted  from  his  carriage  in  front  of  his 
palace.  He  also  took  the  portrait  of  the  wife  of  the 
French  Prince  De  Joinville,  and  was  present  at  her  mar- 
riage to  the  prince.  He  commenced  practising  the  art, 
in  Brooklyn,  New  York,  in  1860,  and  has  often  been 
favored  with  the  valuable  advice  of  the  most  eminent 
artists,  such  as  Page,  Huntingdon,  Elliott,  and  Inman. 

Few  only  of  those,  who  commenced  practising  the  art, 
as  a  calling,  in  1841,  have  followed  it  through  all  its 
changes  and  improvements,  so  as  to  stand,  to-day,  in  the 
front  rank  of  its  practitioners.  Among  these  I  am 
happy  to  name  J.  Gurney  and  A.  Morand,  of  New  York, 
and  Samuel  Broadbent,  late  of  the  firm  of  Broadbent  & 
Co.,  Philadelphia.  Mr.  B.  commenced  as  a  pupil  with 
Professor  Morse,  and  for  several  years  practised  in  the 
South.     He  came  to  Philadelphia  in  1851. 

Thomas  Faris,  a  native  of  Ohio,  commenced  practice 
in  1841,  and  introduced  the  art  into  that  state.  He  has 
still  in  his  possession  daguerreotype  portraits,  in  good 
preservation,  which  were  made  by  him  twenty-two  years 
ago.  He  introduced  also  the  use  of  bromine  into  Ohio, 
and  was,  for  many  years,  the  leading  daguerreotypist  in 
Cincinnati,  of  that  state. 

To  these  should  be  added  the  intelligent  and  enterpris- 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  361 

ing  John  Plumb,  wlio  early  established  galleries  in  most 
of  the  large  cities  of  the  United  States ;  placing  them 
under  the  supervision  of  his  employes,  in  whose  charge 
they  flourished  for  the  first  four  years.  With  so  many 
"irons  in  the  fire,"  however,  he  necessarily  neglected 
some  of  them.  The  consequence  was,  that  he  became 
sadly  reduced  through  the  heedlessness  and  wastefulness, 
if  not  the  absolute  dishonesty  of  his  agents.  So  that, 
from  being  possessed  of  a  competence,  the  year  1847 
found  him  literally  penniless.  Most  of  his  fine  establish- 
ments passed  into  the  hands  of  those  in  whom  he  had 
confidently  trusted. 

In  1844-7,  the  leading  practitioners  of  the  art  were 
Southworth  &  Hawes,  Litch  &  Whipple,  French  &  Hale, 
Chase  &  Ives,  in  Boston ;  and  in  New  York,  Anthony, 
Edwards  &  Clark,  the  proprietors  of  the  National  Gal- 
lery, J.  Gurney,  Edward  White,  and  M.  B.  Brady. 

Messrs.  Anthony  Brothers  (Edward  and  Henry  T.), 
originally  civil  engineers,  were  prompted,  on  the  appear- 
ance of  the  new  art,  to  make  themselves  practically 
acquainted  with  it.  E.  Anthony  accompanied  to  the 
Aroostook  territory  in  Maine,  the  commissioners  ap- 
pointed to  run  the  boundary  line  between  the  United 
States  and  the  British  Dominions.  He  then  took,  for  our 
Government,  photographic  views  of  the  "Highlands," 
involved  in  that  controversy  between  the  two  govern- 
ments, which  Lord  Ashburton  and  Mr.  Webster  were 
appointed  to  settle.  These  views  are  preserved  in  the 
national  archives,  and,  so  far  as  we  know,  this  was  the 
first  recourse  ever  had.  by  any  government,  to  the  ser- 
vices of  the  sun-painting  art. 

They  also  took  from  life  in  1839,  or  early  in  1840,  the 
portrait  of  a  laborer,  standing  on  the  sunny  side  of  a 
house  at  Tarrytown,  with  the  lens  of  a  telescope. 


362  THE  CAMERA  AND  THE  PENCIL. 

The  firm  of  Anthony,  Edwards  &  Clarke  took  daguer- 
reotype portraits  of  the  members  of  Congress,  in  1843 
and  1844 ;  and  in  1845  published  the  large  and  fine 
picture  entitled  "  Clay's  Farewell  to  the  Senate."  The 
portraits  in  this  picture  were  striking  for  life-like  artistic 
effect.  This  was  the  first  notable  engraving  taken  from 
daguerreotypes,  extant  at  that  date  (1846),  when  this  firm 
stood  at  the  head  of  the  art  in  New  York. 

Edward  Anthony,  the  head  of  both  the  above-named 
firms,  has,  from  the  outset,  manifested  a  deep  interest  in 
the  art,  and  has  been  zealous  and  liberal  in  promoting  all 
the  measures  adopted  and  the  efibrts  made  for  its  advance- 
ment. In  1854,  he  offered  two  magnificent  and  valuable 
prizes,  to  be  awarded  to  the  two  artists  who  should 
produce  the  three  best  and  the  three  second  best  speci- 
mens of  the  daguerreotype.  This  offer,  of  course,  was 
made,  as  a  stimulus  to  those  engaged  in  the  art. 

The  first  prize,  a  massive  silver  pitcher,  highly  orna- 
mented, was  awarded  to  J.  Gurney ;  and  the  second, 
two  beautiful  silver  goblets,  to  Samuel  Eoot.  The  com- 
petitors were  quite  numerous,  and  there  was  no  great 
difference  in  the  manipulative  or  artistic  excellence  of 
the  effects  produced.  A  favorable  subject,  as  a  model, 
or  some  lucky  circumstance,  probably  determined  the 
award,  as  there  was  no  very  decided  difference  in  the 
specimens  presented,  all  being  highly  creditable  to  the 
makers.  The  condition,  attached  by  Mr.  Anthony  to 
his  offer  of  these  prizes,  was  that  each  competitor  should 
furnish  him  a  full  description  of  the  process  whereby  he 
operated — to  be  published  for  the  general  benefit.  This 
was  done,  and  the  processes  of  each  were  published. 

Henry  T.  Anthony,  a  member  of  the  Photographic 
Club,  and  a  brother  of  Edward,  was  (we  believe)  the  first 
who  took  instantaneous  views  by  the  collodion  process ; 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  368 

the  first  not  only  in  the  United  States,  but  (so  far  as  we 
know)  in  the  world. 

The  following  paragraph  is  extracted  from  an  exceed- 
ingly complimentary  letter,  written  by  Thomas  Sut- 
ton, Esq.,  of  Eng]and,  editor  of  the  "Photographic 
Notes,"  to  Mr.  H.  T.  Anthony,  in  reply  to  a  letter  by 
the  latter,  accompanied  by  some  of  his  instantaneous 
photographs,  and  asking  Mr.  S.  how  these  compared  with 
similar  results  obtained  in  Europe. 

"In  reply  to  Mr.  Anthony's  query  about  us  European 
photographers,  we  can  only  say  we  know  of  no  pictures, 
save  two  or  three  of  WilsorCs  best,  which  could  he  put  in  com- 
parison with  those  he  has  sent;  and  we  old  stick-in-the-mud 
fellows  must  take  care,  or  the  Yankees  will  go  ahead  of  us." 

In  copartnership  with  a  brother,  he  is,  at  present, 
one  of  the  largest  stock-dealers  in  the  United  States, 
manufacturing  and  keeping  ever  on  sale,  the  best  quali- 
ties of  all  the  materials  and  implements  employed  in 
the  profession. 

Next  after  them  in  New  York,  followed  Gurney,  Brady, 
Haas,  and  Lawrence.  In  1845-6,  F.  Langenheim,  in 
Philadelphia,  was  generally  acknowledged  to  be  the  first 
scientific  and  practical  daguerreotypist  in  this  country, 
and  probably  in  the  world.  He  has  skilfully  applied  the 
new  art  to  the  manufacture  of  magic  lantern  slides,  of  an 
exquisite  quality.  His  micro-photographs  are  far  supe- 
rior to  any  we  have  seen  made  by  others  on  either  side 
the  Atlantic.  Following  him  were  Yan  Loan,  Mayall, 
Plumb,  and  Simons. 

Mayall  became  sole  proprietor  of  the  since  widely 
known  establishment  at  140  Chestnut  Street,  in  1845. 
On  June  20th,  1846,  he  disposed  of  it  to  M.  A.  Eoot,  and 
returned  to  London,  where  he  now  has  a  flourishing 
establishment,  in  which  all  branches  of  sun-limning  are 
Buccessfully  practiseH.^ 


364  THE  CAMERA  AND  THE  PENCIL.  • 

Through  Mr.  Shadbolt,  the  able  editor  of  the  London 
Journal,  I  have  learned  that  Mr.  M.  has  been  honored 
with  the  patronage  of  England's  Eoyal  Family.  This,  I 
trust,  will  compensate  him  for  his  many  years  of  zealous 
devotion  to  his  favorite  art,  with  his  indefatigable  efforts 
to  place  it  high  on  the  list  of  honorable  professions. 

In  1842,  John  A.  Whipple,  of  Boston,  Massachusetts, 
manufactured  the  chlorides  of  iodine  and  gold,  and  hypo- 
sulphite of  soda  for  daguerreotype  amateurs.  The  firm 
of  Litch,  Whipple  &  Cannon  was  formed  in  1846,  and 
dissolved  in  1848. 

In  1849,  Whipple,  by  help  of  the  Cambridge  Observa- 
tory telescope,  supervised  by  Dr.  Bond,  daguerreotyped 
a  gpoup  of  double  stars ;  apd  a  few  months  later,  by  the 
same  help,  he  took  excellent  daguerreotypes  of  the  moon. 
These  were  the  first  pictures  of  the  kind  ever  obtained 
by  the  new  art. 

^  In  1860,  he  took  stereoscopic  views  of  the  moon  on 
collodionized  plates,  and  as  two  views  of  the  same  object, 
taken  at  slightly  different  points,  are  required  to  repre- 
sent such  object  stereoscopically,  Mr.  Whipple  took  his 
first  view  of  the  moon  in  February  5th,  and  ^e  second  in 
-4-pril  6th.  The  moon  having  changed  her  position  and 
aspect  during  the  interval,  the  two  pictures,  whfen  pro- 
perly mounted  and  seen  through  the  stereoscope,  were 
represented  as  one  moon,  alike  interesting  and  wonderful 
to  behold.  These  are  perfect  marvels  for  their  rotundity 
of  effect,  the  moon  standing  out  ^.s  round  as  a  billiard 
ball.  The  definition  is  both  clear  and  beautiful.  The 
time  of  exposure  was  from  four  to  five  seconds  each. 

Whipple  introduced  the  use  of  steam-power  in  polish- 
ing plates,  as  also  in  other  branches  of  his  business, 
thereby  saving  much  time  and  labor.  He  still  prosecutes 
daguerreotypy,  in  connection  wit^?iall  other -branches  of 

Q 


'HISTORY  OF  THE  HELIOGRAPHIC  AET.  365 

sun-painting.  He  has  tested  the  art  in  all  its  phases, 
and  has,  probably,  labored  as  diligently  and  done  as 
much  to  make  it  popular  and  useful,  as  any  man  in  the 
United  States.  He  has  generally  been  first  in  introducing 
improvements.  His  largest  lenses,  which  are  also  the 
largest  in  the  country,  were  constructed  by  Alvin  Clarke, 
of  Boston. 

He  was  among  the  first  in  the  United  States  to  enlarge 
daguerreotypes  up  to  life-size,  by  his  own  arrangement 
of  lenses.  Having  a  condenser  fixed  in  the  roof,  the 
light  is  thrown  down  through  a  small  set  of  lenses  upon 
the  paper,  which  is  fixed  upon  a  platform  so  arranged 
with  weights  and  pullies,  as  to  be  elevated  or  lowered, 
as  required  to  regulate  the  size  of  the  impression.  He 
made  at  once  with  a  camera  the  largest  street- view  ever 
taken.  The  negative  was  5  ft.  X  3, — and  the  finished 
proof,  when  trimmed  and  mounted,  was  4  ft.  6  in.  X  2  ft. 
6  in. 

Whipple's  galleries,  which  occupy  the  upper  part  of 
three  buildings,  cost  over  $25,000,  and  are  admirably 
appointed ;  ever}''  appliance  is  convenient,  and  of  the 
most  approved  construction.  He  employs  nearly  forty 
persons,  mostly  females.  His  work,  of  all  styles,  stands 
deser^^l|||ly  high,  and  is  appreciated  by  the  intelligent 
and  opulent,  and  his  business  is  large  and  profitable. 

My  personal  interest  in  the  art  commenced  with  its 
earliest  appearance  in  Philadelphia  in  1839,  and  for  the 
next  few  years,  I  devoted  to  its  study  and  practice  the 
whole  time  and  attention  not  absorbed  by  my  ordinary 
vocation.  In  1844,  I  commenced  practice  in  Mobile, 
Alabama,  having  bought  out  John  A.  Bennett,  a  young 
practitioner  there.  From  Mobile  I  went  to  New  Orleans, 
where,  for  some  time,  I  paid  attention  to  the  art.  In  the 
same  year  I  opened  a  gallery  in  St.  Louis,  under  the 


366         THE  CAMERA  AND  THE  PENCIL. 


name  of  Eoot  &  Miller,  and  another  in  Philadelphia, 
under  that  of  Boot  &  Collins. 

Since  June  20th,  1846,  when  I  commenced  giving  my 
undivided  time  and  labor  to  sun-limning,  in  Philadelphia, 
I  have  strictly  maintained  my  original  prices,  or  else 
have  advanced  upon  them ;  and  have  constantly  striven 
to  make  the  profession  as  widely  popular  and  as  lucrative 
as  possible.  To  this  end  I  have  expended  nearly  $20,000 
in  advertising,  &c.,  in  order  to  draw  public  attention  to 
the  excellencies  of  the  art,  and  to  the  value  of  first-class 
specimens  of  the  same,  as  subserving  a  multitude  of  most 
important  ends. 

My  extra-liberal  use  of  "printer's  ink,"  coupled  with 
my  reputed  success  in  producing  good  pictures,  not  only 
augmented  largely  my  own  business,  but  induced  hun- 
dreds beside  to  adopt  the  same  vocation.  So  that,  at  the 
close  of  the  first  sixteen  years  from  its  introduction, 
nearly  every  village  of  note  in  the  United  States  had  at 
least  one  heliographer,  who  made  it  his  head-quarters, 
while  most  of  our  large  towns  had  from  two  to  a  dozen. 
In  1849  I  opened  a  gallery  at  the  corner  of  Franklin 
Street  and  Broadway,  New  York,  under  the  supervision 
of  my  brother  Samuel.  In  1856,  this  was  sold  to  Mr. 
Paris,  and  my  brother  commenced  practice  in  m'Buque, 
Iowa. 

In  1852  I  opened  a  gallery  in  Washington,  D.  C, 
under  the  care  of  a  former  pupil  of  mine,  John  Clark, 
who,  at  this  date  (1863),  has  a  flourishing  establishment 
in  New  Orleans. 

In  1856  I  was  severely  injured  by  a  railroad  collision, 

and  was  confined  to  my  house,  crippled  and  helpless,  for 

nearly  four  years.     Within  this  period  most  of  the  first 

part  of  this  volume  was  prepared  and  put  on  paper. 

The  total  number  practising  the  art,  in  1860,  through- 


HISTOEY  OF  THE  HELIOGRAPHIC  ART.  367 

out  the  United  States,  was  believed  to  exceed  ten 
thousand.  It  was,  however,  undeniable  that  a  great 
proportion  of  this  number  were  not  qualified  to  achieve 
even  a  high  mechanical  success  therein,  being  ignorant 
alike  of  its  theory  and  practice. 

Of  this  large  number  of  operants,  we  regret  the  neces- 
sity of  saying,  that  the  proportion  is  inconsiderable  who 
appear  to  us  to  be  artists  in  judgment,  feeling,  and 
executive  genius,  or  in  the  discipline  obtained  from 
scholastic  training  or  self-teaching.  Nor  is  the  sum  v&ry 
considerable  of  first-class  proficients,  even  in  the  chemi- 
cal or  mechanical  departments.  This  remark  applies, 
with  slight  if  any  difference,  to  all  the  main  sections  of 
the  United  States. 

Within  the  interval  from  1851  to  the  present  date  (1855), 
practitioners  have  grown  so  numerous  and  the  resulting 
competition  so  sharp,  that  prices  have  gradually  sunk 
from  a  moderate  amount  to  the  bare  cost  of  the  often 
indifferent  materials  employed.  So  that  heliographs, 
not  unfrequently,  were  sold  for  one  shilling  apiece. 

Now  that  this  state  of  things  is  attended  with  evils  of 
no  slight  moment,  will  (I  suppose)  be  freely  conceded. 
Among  these  is  the  disrepute  thus  cast  upon  the  art  and 
its  professors,  as  are  also  the  hindrances  thereby  put  in  the 
way  of  its  development,  and  its  progress  towards  that 
eminent  status  and  that  multiform  utility,  which  both, 
under  genial  auspices,  are  capable  of  attaining. 

Let  us  not,  however,  forget  that  this  condition  of  affairs 
has  its  own  compensations,  and  that  even  cheap  photo- 
graphs are  not  without  some  benefits  to  the  community. 
Their  cheapness  brings  them  within  reach  of  all,  how- 
ever little  cultured  and  however  depressed  in  the  social 
scale.  It  is  rare  to  find  any  one  of  these,  which  has  not 
in  it  something  to  fix  and  reward  the  attention ;  and  mul- 


368  THE  CAMERA  AND  THE  PENCIL. 

titudes  of  the  humbler  classes  are  not,  by  education, 
qualified  to  appreciate  the  highest  products  of  art,  so  as 
to  give  them  instant  preference  to  the  lowest. 

Very  many,  therefore,  may  draw  both  pleasure  and 
mental  profit  from  pictures,  which  the  able  connoisseur 
would  fling  contemptuously  aside. 

Let  us  not,  then,  despise  what  is  capable  of  delighting 
and  advantaging  any  considerable  number  of  our  fellow- 
beings.  To  borrow  the  language  of  a  friend,  who  be- 
lieves that  "  God  hath  made  of  one  blood  all  nations  upon 
earth," 

"  The  desire  for  specimens  of  art  may  be  as  strong 
with  the  poor  in  their  cabins,  as  with  the  rich  in  their 
palaces ;  and  the  poor  widow,  as  she  pays  her  twenty-five 
cents  (which,  probably,  are  her  whole  savings,  through 
many  weeks,  from  her  scanty  pittance),  for  a  likeness  of 
her  cherished  one  (perhaps  her  only  son  bound  for  the 
field  of  war),  who  is  about  leaving  her,  it  may  be  to 
return  no  more,  will  feel  a  glow  of  gratitude  to  the  art 
that  has  enabled  her  to  have  always  within  view  a 
'counterfeit  presentment'  of  one  so  fondly  loved.  She 
will,  moreover,  be  quite  as  happy  in  this  her  possession, 
and  possibly  as  respectable,  as  the  opulent  ladies  and 
gentlemen,  who  ride  in  their  carriages,  for  their  costly 
portraits  to  the  studios  of  the  highliest  famed  celebrities 
of  the  art." 

If  thus  the  indifferent  sun-painting  may  be  a  solace  in  a 
multitude  of  cases,  of  which  the  above  is  an  example, 
and  a  positive  delight  in  as  many  others,  so  it  may  also 
serve  as  a  partial  means  of  culture  to  the  whole  com- 
munity of  the  lowly  poor,  by  training,  to  some  extent, 
within  them  a  taste  for  the  beautiful  in  nature  and  in 
art,  as  also  the  capacity  to  judge  between  various  degrees 
of  merit;  thus  tending  to  elevate  and  to  bring  them 


HISTORY  OF  THE  HELIOGKAPHIC  ART.  369 

nearer,  in  intellectual  condition,  to  those  more  favored 
of  fortune. 

In  1848,  John  Quail  invented,  and  employed  for  several 
subsequent  years,  in  his  daguerreotype  gallery  in  Phila- 
delphia, a  multiplying  camera,  with  a  very  convenient 
plate-holder,  having  both  horizontal  and  perpendicular 
movements,  whereby  several  impressions  could  be  taken 
at  one  sitting.  This  camera  still  exists.  He  also  used  a 
"greasy  buff,  magnetized"  with  spermaceti  oil,  and  took 
pictures  of  children,  almost  instantaneously,  and  usually 
without  the  "  head-rest," 

Mr.  Cady,  of  New  York,  in  1851,  took  instantaneous 
views  of  steamboats  while  leaving  the  wharf,  with  the 
wheels  in  rapid  motion.  The  waves,  the  spray,  and 
objects  generally,  were  defined  as  beautifully  as  though 
standing  still  at  the  taking. 

Alexander  Beckers,  in  1851,  made  instantaneous  views 
in  Broadway,  New  York,  wherein  all  moving  objects 
were  clearly  and  beautifully  delineated  on  a  silvered 
plate.  He  also  invented  and,  for  many  years,  used  a 
movable  plate-shield,  which  comprised  lateral  and  per- 
pendicular movements,  that  brought  the  image  into 
the  middle  of  the  plate  and  through  the  centre  of  the 
lens. 

In  the  Crystal  Palace  exhibition,  at  New  York  city,  in 
1853,  our  leading  daguerreotypists  placed  there  on  show 
the  finest  collection,  probably,  of  daguerreotypes,  ever 
brought  before  the  public,  either  in  this  or  any  other 
quarter  of  the  world. 

The  daguerreotype  business  was  at  its  zenith  in  1853, 
since  when  it  has  been  declining.  And  I  venture  the 
prediction,  that  this  decline  will  go  on  till  large  numbers, 
especially  in  our  principal  cities,  have  abandoned  it.  By 
this  means,  I  think,  it  will  ultimately  fall  into  the  hands 
24 


370         THE  CAMERA  AND  THE  PENCIL, 

of  comparatively  a  few — such,  moreover,  as  are  qualified 
for  it  alike  by  native  genius  and  by  education,  and  who 
will  so  practise  all  its  several  branches,  as  to  secure  the 
approval  of  the  most  accomplished  connoisseurs.  It  will 
then  attract  the  regards  of  artists  more  than  it  has  here- 
tofore dune,  and  will  essentially  aid  them  in  their  own 
special  departments,  and,  at  the  same  time,  will  be 
patronized  by  amateurs  and  by  the  more  opulent  classes 
of  the  community.  In  such  circumstances,  sun-pictures 
will  be  far  more  likely  than  now  to  be  appreciated,  and 
to  receive  the  awards  due  to  their  absolute  merits. 

In  1855,  Hesler,  of  Chicago,  Illinois,  excelled  most 
others  in  his  daguerreotype  views.  He  had  a  genuine 
love  of  his  art,  and  worked  it  with  veritable  artistic 
feeling.  His  subjects  were  usually  well  chosen,  and  the 
mechanical  and  chemical  manipulations  displayed  evi- 
dence of  a  genius,  of  which  the  profession  should  be 
proud.  He  did  much  to  elevate  his  art  both  in  excel- 
lence and  in  public  estimation, 

Fitzgibbons,  of  St.  Louis,  Missouri,  also  exhibited 
great  energy  and  skill  in  his  street-views,  his  pictures 
of  steamboats,  his  portraits  of  Indians,  &c.  These, 
taken  in  1852-3,  were  wonderful  for  delineations,  depth, 
tone,  and  beauty. 

But  to  proceed  with  our  history. — In  Paris,  where 
Daguerre's  discovery  was  first  made  public,  it  lies  at 
present  in  partial  abeyance,  if  it  be  not  well-nigh  forgotten ; 
while  photography,  by  the  albumen  and  collodion  pro- 
cesses, has  been  carried  to  a  high  degree  of  excellence. 
The  march  of  improvement  is,  at  this  moment,  not  less 
steady  and  rapid  than  at  any  prior  date,  and  men  of 
science  and  accomplishments,  all  over  Europe,  may  be 
found  taking  solar  portraits  and  views,  both  as  profes- 
sionists  and  amateurs. 


HISTORY  OF  THE  HELIOGRAPHIC  AKl'.  3-71 

Talbot's  process  (patented  in  1840)  was  purchased  by 
William  &  F.  Langenlieim,  and  by  them  introduced,  at 
great  expense,  into  the  United  States,  in  1849.  Unhappily 
for  the  purchasers,  this  process  proved  impracticable,  and 
was  soon  superseded  by  the  albumen  process,  first  prac- 
tised (as  already  stated)  by  Niepce  St,  Victor,  in  Paris, 
whereby  pictures  were  impressed  on  glass,  and  entitled 
"Hyalotypes."  In  1850  this  process  was  patented  by 
Langenheim,  and  at  the  "  World's  Fair"  in  the  Crystal 
Palace,  in  London,  he  received  a  medal  for  the  superior 
excellence  of  his  specimens. 

John  A.  Whipple  and  William  B.  Jones,  of  Boston, 
also  obtained,  in  1845,  a  patent  for  a  certain  variety  of 
the  albumen  process,  styled  by  them  the  "Crystallotype." 
In  the  hands  of  Whipple,  one  of  the  most  original 
geniuses  in  the  profession,  and  more  especially  (perhaps) 
of  J.  Wallace  Black,  who  was  noted  for  his  extraordinary 
energy  and  skill,  this  picture  was  greatly  improved  and 
to  some  extent  brought  to  the  knowledge  of  the  Boston 
public.  Strictly  considered,  we  believe  this  process  is 
simply  that  of  Niepce,  whose  description  of  it  was 
translated  for  Whipple,  and  for  this  he  procured  a  patent 
from  the  United  States  Grovernment. 

In  New  York,  several  daguerreotypists  in  1853  es- 
sayed the  introduction  there  of  this  process  for  portraiture, 
but  they  did  not  succeed.  It  is  suited  only  for  views, 
and  for  transcribing  pictures,  where  prolonged  exposures 
can  be  had. 

McClees  &  Germon  introduced  Whipple's  crystallotype 
into  Philadelphia,  and,  after  much  trouble  and  heavy 
expense,  succeeded  in  producing  some  very  fine  pictures, 
as  also  in  copying  good  daguerreotypes  so  well,  that  but 
slight  labor  was  requisite  for  an  artist  to  make  of  them 
very  pleasing  and  creditable  productions.   McClees  copied 


372  THLi  CAMEEA  AND  THE  PENCIL. 


and  transferred  to  boxwood  blocks,  ready  for  the  en- 
graver, an  admirable /ac  simile  of  the  Japan  treaty,  which 
was  faithfully  cut  upon  wood,  stereotyped  or  electro- 
typed,  and  printed  in  the  Japanese  language.  This  may 
be  seen  in  Perry's  account  of  the  United  States  treaty 
with  Japan,  published  in  1853. 

Mr.  Schreiber  who,  in  1850,  succeeded  Langenheim  in 
Philadelphia,  has  practised  the  albumen  process  with  fair 
success.  He  has  excelled,  especially,  in  copying  poor 
daguerreotypes. 

The  collodion  process,  discovered,  in  1850,  by  Le  Grray, 
of  Paris,  and  Frederick  Scott  Archer,  of  London,  was,  in 
1851,  introduced  to  the  English  public,  together  with  its 
formulas. 

In  January  and  February  of  1852,  Dr.  Charles  Cresson, 
of  Philadelphia,  was  by  myself  supplied  with  cotton  for 
making  collodion,  and  instruments  for  experimentation. 
Early  in  February  he  obtained  encouraging  results,  and 
in  March  he  produced  views  and  portraits,  at  brief 
exposures,  in  a  series  of  experiments  with  iodine,  bro- 
mine, and  sundry  other  substances,  suggested  by  the  late 
John  Price  Wetherill,  Esq. 

In  1853,  Dr.  Griles  Langdell,  now  of  Philadelphia, 
procured,  while  residing  in  Boston,  a  published  account 
of  Archer's  process,  and,  after  several  experiments,  suc- 
ceeded in  making  very  good  collodion  portraits  on  paper. 
My  impression  is,  that  he  was  the  first  to  operate  success- 
fully with  this  process  in  the  United  States. 

After  considerable  improvements,  this  process  was  first 
introduced,  in  1854,  into  various  daguerrean  establish- 
ments, in  the  Eastern  and  Western  States,  by  Cutting  & 
Eehn.  In  June  of  this  year,  Cutting  procured  patents 
for  the  process,  though  Langdell  had  already  worked  it 
from  the  printed  formulas. 


HISTORY  OF  THE  HELIOGRAPHIC  AKT.  373 

The  process  has  since  been  introduced,  as  a  legitimate 
business,  into  the  leading  establishments  of  our  country. 
The  positive  branch  of  it ;  i.  e.  a  solar  impression  upon 
one  glass-plate,  which  is  covered  by  a  second  hermetically 
sealed  thereto,  is  entitled  the  "  Ambrotype,"  (or  the 
^imperishable  picture"),  a  name  devised  in  my  gallery. 

Isaac  Rehn,  formerly  a  successful  daguerreotypist,  in 
Company  with  Cutting,  of  Boston,  perfected  and  intro- 
/luced  through  the  United  States  the  "Ambrotype,"  or 
/the  positive  on  glass.  Since  then,  he  has  investigated 
and  mastered,  on  its  appearance,  every  new  phase  of  the 
heliographic  art.  Portraiture  in  all  its  branches — from 
the  small  and  exquisite  stereoscopic  picture,  up  to  the 
life-size  by  the  solar  camera  enlargement — has  been 
executed,  with  remarkable  excellence  and  beauty,  by  his 
artistic  genius  and  skilful  manipulation. 

Not  content  with  limiting  his  attention  to  this  branch 
alone,  he  turned  his  investigations  to  other  branches 
also ;  e.  g  photo-lithography  and  micro-photography. 
His  productions,  in  these  two  departments,  so  useful  and 
important  for  numerous  purposes,  have  proved  him  to 
be  a  perfect  and  successful  master  of  both.  Government 
gave  him  large  orders  for  patent  of&ce  delineations.  So, 
too,  the  scientific  members  of  the  Philadelphia  Academy 
of  Natural  Sciences  have  expressed  themselves  surprised 
and  delighted  with  his  exactly  and  beautifully  executed 
representations  of  microscopic  objects,  enlarged  thousands 
of  times,  and  photo-lithographed  clearly  in  all  their 
minutest  details, 

A  distinguished  scientific  gentleman  and  heliographic 
amateur,  in  a  recent  letter  to  me,  writes  of  Mr,  B.  as  fol- 
lows : — "  Mr,  Rehn  knows  more  about  photo- lithography 
than  any  other  man  in  the  world !  I  judge  from  the 
beautiful  specimens  of  his  work,  some  of  which  you  sent 


374         THE  CAMERA  AND  THE  PENCIL. 

me.  I  saw  nothing  in  Europe  lilce  themP''  We  congratu- 
late our  friend  E.  on  calling  forth  a  judgment  so  eulo- 
gistic from  so  capable  a  judge  and  art-critic. 

This  species  of  picture  (the  Ambrotype)  had,  at  the 
very  outset,  an  extraordinary  popularity,  which,  how- 
ever, for  reasons  stated  otherwhere,  has  palpably  and 
generally  declined ;  so  that,  at  present,  comparatively 
few  are  made.  Positives  taken  upon  enamelled  or 
japanned  iron  plates,  instead  of  glass,  are,  at  this  date 
(1863),  quite  popular. 

The  principal  use  now  made  of  the  collodion  process, 
is  in  taking  and  printing  positives  on  paper  from  a  nega- 
tive taken  upon  glass.  From  one  such  negative  an 
indefinite  number  of  paper  positives  can  be  made.  And, 
all  things  considered,  these  pictures  must,  probably,  be 
pronounced  the  finest  of  sun-limnings  as  yet  produced. 
Some,  however,  would  doubtless  insist  upon  at  least  one 
exception — the  daguerreotype. 

Charles  Williamson  v/"ho,  in  1849,  had  been  for  a 
while  in  my  employ,  opened  a  photographic  establish- 
ment in  Brooklyn,  New  York,  in  1851.  He  introduced 
the  "  Cameotype,"  which  was  simply  a  small  vignette 
daguerreotype,  making  a  pretty  picture,  tastefully  got 
up  and  cased.  He  kept  pace  with  the  improvements  in 
the  art,  always  introdccing  these,  as  suggested  by  scien- 
tific amateurs  at  \iqds,  and  abroad,  employing  first-class 
artists,  and,  for  tLo  most  part,  supplying  his  customers 
with  artistic  aud  ^u,tisfactory  portraits.  He  employs,  at 
oresent,  about  forty  persons,  and  has  one  of  the  best 
appointed,  most  beautiful  and  popular  establishments  in 
our  country. 

0.  C.  Harrison,  so  widely  known  as  a  manufacturer  of 
camera  lenses  and  tubes,  for  heliographic  use,  was,  in 
.1 846,  a  daguerreotype  manipulator.     He  prosecuted  this 


HISTORY  OF  THE  HELIOORAPHIC  ART.  375 

business  for  several  years,  making,  the  while,  lenses  both 
for  his  own  use  and  for  sale.  The  value  of  his  lenses 
eventually  became  so  extensively  kn:-wn,  and  the  de- 
mand for  them  so  great,  that  he  was  constrained  to 
give  his  undivided  attention  to  this  manufacture,  in 
which  he  has,  at  present,  constantly  employed  over  thirty 
workmen.  Up  to  May  15th,  1863,  he  had  constructed 
eight  thousand  eight  hundred  and  seventeen  of  the  lenses 
in  general  use,  and  three  hundred  and  seven  of  his 
new  globe  lenses,  so  highly  prized  for  landscape-pho- 
tography, copying,  &c.  (See  chapter  on  Optics.  Part 
Second.) 

M.  B.  Brady  commenced  the  daguerreotype  practice  in 
1843.  He  received,  in  1844,  the  first  medal  ever  awarded 
by  the  American  Institute  for  the  best  specimens  ex- 
hibited, and,  in  subsequent  years,  received  several  others. 
The  first  medal  was  awarded  to  him  at  the  London 
Crystal  Palace,  in  1851. 

He  has  always  been  energetic  and  untiring  in  his 
efforts  to  improve  and  elevate  the  art — employing,  at 
high  prices,  the  best  artists  to  finish  portraits  in  India 
ink,  water,  and  oil  colors  for  his  patrons.  He  took  the 
photographs  of  the  members  of  the  United  States  Senate 
and  House  of  Kepresentatives,  and  combined  them  in  a 
single  group,  just  before  the  rebellion  broke  out.  He  has 
also  photographed  "  war  scenes,"  or  "  incidents  of  the 
war,"  having  eighteen  or  twenty  assistants  employed  on 
the  work  for  months. 

The  most  remarkable  productions  of  his  establishment 
for  artistic  effect,  and  that  expression,  which  imparts  to  a 
picture  an  air  of  intelligence  and  thought,  were  a  series 
of  photographic  representations  of  Mr.  Forrest  in  his 
various  dramatic  characters,  finished  in  India  ink.  In 
these  pictures   the   several   characters  were   admirably 


376         THE  CAMERA  AND  THE  PENCIL, 

expressed,  and  told  each  its  own  individual  storj.  For 
the  series  Mr.  F.  paid  $1000. 

The  work  was,  in  all  its  departments,  executed  in  the 
finest  style  of  the  art,  and  was,  in  the  highest  degree, 
creditable  to  Mr.  Brady. 

Sundry  other  species  of  pictures,  chiefly  variations  of 
the  collodion  process,  have  been  invented  in  this  country, 
receiving  their  names  either  from  their  inventors,  or  from 
some  circumstance  associated  with  them.  I  shall  here 
do  little  more  than  enumerate  them. 

1st.  The  Hillotype  is  so  styled  from  Eev.  L.  L.  Hill, 
of  the  interior  of  New  York,  who  attempted  thereby  to 
produce  pictures,  colored  as  in  nature.  As  his  endea- 
vor succeeded  but  partially,  if  at  all,  and  as  there  appears 
to  have  been  deception  in  the  matter,  I  shall  meddle  with 
it  no  further. 

2d.  The  Hallotype  was  invented  by  J.  Bishop  Hall,  of 
New  York  city,  and  patented  in  January  1857.  Its 
principle  consists  in  a  certain  mode  of  combining  two  or 
more  pictures,  which  are  fac  simile  or  duplicate  impres- 
sions, so  as  to  constitute  one  picture.  There  are  numer- 
ous varieties  in  the  application  of  this  principle,  and 
some  items  of  the  process  have  been  practised  in  Europe 
for  over  thirty  years. 

3d.  The  Diaphanotype  is  a  method  of  applying  the 
principle  of  the  hallotype,  originating  with  E.  E.  Haw- 
kins, of  Cincinnati,  Ohio.  The  picture  has  an  enamelled 
appearance,  and  being  cemented  to  plate-glass,  and  colored 
on  the  back  in  oil  colors,  it  is  believed  to  be  durable. 

4th.  The  Melainotype  is  simply  a  collodion  positive, 
made  upon  an  iron  instead  of  a  glass  plate,  the  invention 
of  Professor  H.  L.  Smith,  of  Kenyon  College,  Gambier, 
Ohio.  The  Ferrotype  plate,  so  named,  manufactured  by 
V.  M.  Griswold,  of  Ohio,  has  a  similar  appearance. 


HISTOKY  OF  THE  HELIOGEAPHIC  AET.  377 

5th.  The  Sphereotype  was  patented  in  1856,  by  Bisbee, 
of  Columbus,  Ohio.  It  is  nothing  else  than  a  positive, 
impressed  on  glass  in  a  certain  peculiar  way,  and  is 
named  from  its  spherical  appearance,  when  finished  and 
encased. 

6th.  The  Atrephograph  is  an  invention  of  James  M. 
Letts,  of  Dundee,  New  York.  The  name  in  English,  is 
"not  reversed,"  and  denotes  its  character.  It  is  simply  a 
collodion  positive  taken  upon  glass,  which  is  coated,  first 
with  India  rubber  dissolved  in  chloroform,  and  then  with 
collodion.  After  the  impression  has  been  fixed  and 
washed,  it  is  flowed  over  with  thin  transparent  varnish 
or  with  water,  and,  while  damp  or  "  tacky,"  it  is  rolled 
off  upon  black  paper,  upon  thin  cards,  or  japanned 
leather  having  a  fine  polish. 

In  a  daguerreotype  the  reversal,  above  mentioned, 
does  occur — the  right  and  left  sides  changing  places. 
(Mr.  Johnson,  of  New  York,  remarks,  however,  that  "  it 
does  not  occur,  when  the  picture  is  produced  by  the 
reflecting  camera,"  constructed  by  his  former  partner, 
A.  S.  Wolcott.) 

7th.  The  "Imperial  Photograph"  is  a  picture  taken,  in 
the  usual  way,  on  a  plate  20  by  17  or  17  by  14  inches, — 
or  on  a  small  plate  and  magnified  to  that  size  by  the  solar 
camera  or  other  means, — and  then  completed  by  the 
artist.  It  was  introduced  to  the  public  by  M.  B.  Brady, 
of  New  York  city. 

In  1854,  after  the  introduction  of  the  albumen  process 
into  some  of  the  leading  establishments  of  our  principal 
cities ;  and  before  the  collodion  process  had  attracted 
much  notice,  or  had  been  successfully  worked  by  any  of 
our  American  practitioners ;  Messrs.  Gurney,  Fredericks 
&  Pennebeart,  very  greatly  to  their  credit,  introduced 
into  New  York  from  Paris  several  accomplished  practical 


378  THE  CAMEEA  AND  THE  PENCIL. 

artists,  who  liad  had  much  previous  experience  in  color- 
ing photographs,  with  both  oil  and  water  colors.  This 
proceeding  served  to  corroborate  a  statement  of  mine, 
repeatedly  made  in  the  heliographic  journals,  viz.:  that 
this  art  belongs  to  the  category  of  both  the  fine  and  the 
useful  arts ;  that  it  merits  the  attention  and  is  certain, 
eventually,  to  secure  the  skill  and  endeavor  of  able 
artists,  who  are  versed  in  working  in  Indian  ink,  crayon, 
pastel,  and  oil  and  water  colors. 

In  1854,  soon  after  artists  were  employed  to  finish 
photographs  in  colors,  &c.,  occasion  called  for  pictures  of 
this  kind,  enlarged  to  a  size  not  producible  by  ordinary 
camera  lenses;  and  Woodward's  solar  camera,  now  so 
widely  known,  was  invented  and  patented.  This  instru- 
ment, and  others  designed  for  the  same  purpose,  are 
described  elsewhere  in  this  work.     (See  Part  Second.) 

In  1858,  Mr.  Shives  invented  and  patented  another 
enlarging  instrument,  whereby  direct  light  and  a  con- 
densing lens  are  employed,  in  lieu  of  Woodward's  re- 
flector. This  is  capable  of  enlarging  pictures  to  any  size 
required.  (See  chapter  on  enlarging  cameras.  Part 
Second.) 

A  solar  or  enlarging  camera  was  also  patented  by  Mr. 
Howard,  of  Beading,  Pennsylvania.  It  is  manufactured 
and  kept  on  sale  by  Greorge  Dabbs  &  Co.  (See  Chapter, 
Second  Volume,  on  enlarging  cameras.) 

Portraitists  generally  are  now  constrained  to  concede 
the  capabilities  of  the  collodion  process  in  skilled  and  com- 
petent hands,  and  are  glad  to  avail  themselves  of  its 
great  advantages.  Thus  a  superior  photograph,  taken 
by  an  operant  of  genius  and  feeling  under  favorable 
auspices,  may  be  variously  finished  ;  e.  g.  in  Indian  ink 
or  colors,  upon  diverse  materials ;  and  be  by  him  im- 
proved and  idealized,   without  losing  in  the  least  the 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  379 

verity  of  the  picture.  Indeed  it  may  be  affirmed,  tliat 
only  by  heliographic  aid  can  likenesses,  perfectly  truthful, 
be  obtained  of  the  "human  face  divine." 

So  well  is  this  fact  apprehended  at  this  date  (1860), 
that  not  a  few  of  our  leading  heliographers  have  intro- 
duced, while  others  are,  from  time  to  time,  introducing 
into  their  establishments,  thoroughly  educated  and  skilled 
artists  to  finish,  in  colors  or  Indian  ink,  photographs  for 
those  who,  on  perceiving  the  exact  truthfulness  of  these 
representations,  appreciate  and  pay  liberally  for  such 
portraits  of  relatives  and  friends. 

In  fine,  all  indications  promise  that  the  era  is  rapidly 
drawing  nigh,  when  sun -painting  shall  be  recognised  as 
one  of  the  fine  arts ;  nor  this  alone,  but  as  one  among 
the  most  useful  of  all  the  useful  arts.  That  such  are  its 
capabilities  and  its  possibilities  is  a  doctrine  which,  as 
the  reader  will  find,  is  earnestly  advocated  in  this  work 
from  the  first  to  the  last  of  its  pages. 

Messrs.  Case  &  Getchell,  successors  to  Measury  & 
Silsby,  of  Boston,  have  also  a  large  and  popular  estab- 
lishment in  that  city.  Their  cartes  de  visite  and  larger 
photographs  are,  for  beauty  and  artistic  effect,  surpassed 
by  few,  if  by  any.  They  closely  resemble  the  produc- 
tions of  the  celebrated  Disderi,  of  Paris,  which  are  the 
finest  I  have  seen  of  their  class,  and  are  veritable  gems 
of  art. 

Among  the  most  remarkable  productions  of  the  solar 
camera  that  I  have  met  with  (and  these  are  numerous), 
none  are  superior  to  certain  full,  life-size  portraits  pro- 
duced by  Mr.  Burnham,  of  Boston.  They  are  taken 
on  "cartoon"  paper,  seven  feet  by  five  feet,  and  are 
purer,  softer,  and  more  beautiful  in  their  lights  and 
gradations,  while  their  shadows  are  bolder  and  more 
forcible  than  those  of  the  finest  crayon  drawing. 


380         THE  CAMEEA  AND  THE  PENCIL. 

Mr.  Miller,  of  Boston,  an  artistic  heliographer,  and 
equally  able  and  well  skilled  in  all  branches  of  the  pro- 
fession, took  several  exceedingly  interesting  stereoscopic 
and  larger-sized  views,  in  the  crater  of  a  volcano,  at 
one  mile's  depth,  on  Fayal,  an  island  of  the  Portuguese 
Azores.  The  smoke  and  the  steam  rising  from  a  gushing 
spring  (hot  enough  to  boil  eggs  in  three  minutes),  to 
nearly  the  summit  of  the  crater,  and  flowing  gracefully 
over  to  one  side,  was  so  exquisitely  reproduced  by  him, 
as  to  constrain  every  admirer  of  art  to  bless  the  "light- 
sketching  pencil,"  when  wielded  by  artistic  genius. 

Mr.  Miller  also  devised  an  admirable  solar  or  enlarg- 
ing camera,  of  simple  construction,  which  is  widely  used 
in  the  Eastern  States,  and  vended  at  moderate  rates  by 
John  Sawyer  &  Co.,  Boston. 

The  first  successful  heliographic  views,  taken  from 
the  balloon,  of  which  we  have  any  account,  were  by  J. 
"Wallace  Black,  formerly  of  the  firm  of  Whipple  &  Black, 
Boston.  In  consequeoce  of  the  incessant  swaying,  twist- 
ing, and  rolling  movements  of  the  balloon,  as  well  as  its 
rapid  flight,  the  operations  were  extremely  difficult. 

The  instrument  used  was  an  8-4  Yoigtlander  lens 
and  camera,  of  open  or  full  aperture,  affixed  to  a  side 
of  the  balloon-basket.  It  had  a  stop,  or  a  sliding  paste- 
board for  excliading  light,  having  in  its  middle  a  hole 
as  wide  as  the  tube,  and,  in  length,  twice  its  diameter. 
One  end  of  this  slide  closed  the  camera  tube  till  ready 
for  exposure. 

Being  arranged  with  India  rubber  springs  set  by  a 
trigger,  these,  when  all  was  ready,  were  snapped,  and 
the  slide  changed  ends ;  admitting  the  light  through  the 
lens,  as  the  aperture  in  the  slide  passed,  and  making  the 
impression  wstan taneous ly. 

Some  of  the  views  are  very  fine,  and  the  results  of  the 


HISTORY  OF  THE  HELTOGRAPHIC  ART.  381 


experiment  are  highly  creditable  to  Mr.  Black,  as  an 
able,  energetic  sun-limning  artist,  whether  stayed  by  the 
solid  globe  or  cleaving  the  unstable  air.  After  his 
former  partner,  Whipple,  had  represented  the  moon  and 
stars  above,  he  soared  aloft  and  pictured  the  earth  he 
left  below. 

Mr.  Black's  success  for  the  last  five  years  in  all 
branches  of  his  profession,  is  probably  without  a  parallel 
in  the  United  States  at  this  date  (1863).  He  has  one  of 
the  most  extensive  and  best-planned  establishments,  now 
existing,  for  every  department  of  the  art.  He  gives 
constant  employment  to  over  sixty  persons,  male  and 
female. 

The  excellent  specimens  here  produced,  coupled  with 
his  energy  and  courteous  deportment,  have  placed  him 
where  he  now  stands, — in  the  front  rank  of  the  pro- 
fession. 

The  card  picture  has  given  a  new  impulse  to  the  helio- 
graphic  art. 

The  French  were  its  inaugurators,  and  gave  it  the 
name  of  Carte  de  Yisite.  Messrs.  C.  D.  Fredericks  &  Co., 
Broadway,  New  York,  with  their  characteristic  enter- 
prise and  energy,  introduced  the  making  of  portraits  and 
views,  of  this  class,  into  the  United  States. 

In  1860,  J.  E.  Mayall,  of  London,  was  honored  with  a 
commission  to  visit  Buckingham  Palace,  and  take  card- 
portraits  of  the  Queen,  Prince  Albert,  and  the  rest  of  the 
royal  family.  The  sale  of  these  small  pictures,  at  a 
moderate  rate,  gave  the  British  people  the  pleasure  of 
possessing  life-like  representations  of  their  universally 
loved  queen  and  her  interesting  family.  Imitating  this 
high  example,  distinguished  persons,  of  every  rank  and 
pursuit,  availed  themselves  of  the  photographer's  services, 
and  left  with  him  a  negative  impression  of  themselves, 


382         THE  CAMERA  AND  THE  PENCIL. 

from  which,  thousands  could  be  printed.  Thus  their 
friends  and  acquaintances,  and  the  curious  alike  in  Great 
Britain  and  in  foreign  lands,  could  easily  procure  por- 
traits of  the  country's  notabilities,  whose  names  so  often 
appeared  in  books  and  the  public  journals  of  the  day. 
The  natural  result  was,  that  the  sun-painting  art  received 
an  impulse  which  has  carried  it  to  a  height  before 
unparalleled. 

The  Messrs.  Appleton,  of  New  York,  were  (we. believe) 
the  first  booksellers  in  the  United  States,  who  introduced 
stereoscopic  pictures  to  the  public.  The  influence,  given 
them  by  their  eminent  standing  and  large  resources,  in 
this  branch  of  trafl&c,  enabled  them  to  popularize  this 
new  species  of  photograph,  and  to  put  hundreds  of 
thousands,  ere  long,  in  circulation  throughout  the  land. 

More  recently,  they  have  commenced  manufacturing 
the  cartes  de  visite,  consisting  of  portraits  of  celebrities 
and  of  citizens  generally,  and  have  made  an  arrangement 
with  A.  A.  Turner,  who  employs  over  forty  persons,  in 
producing  such  pictures  as  are  likely  to  be  in  demand,  to 
be  put  on  sale  at  their  counter. 

It  is  auspicious,  both  for  the  art  and  its  practitioners, 
that  a  house  so  eminent  and  influential  as  the  Appletons, 
have  become  so  connected  with  this  new  variety  of  the 
art. 

To  show,  by  a  few  statistics,  how  high  is  the  elevation 
which  the  art  has  now  attained,  we  introduce  the  few 
lines  below.  They  prove  that,  as  at  the  outset  a  few 
hundreds  of  dollars  would  start  a  daguerreotypist  in 
practice,  now  as  many  thousands  are  required  to  set  up 
a  photographer. 

The  first  who  had  the  foresight  and  courage  to  risk 
seven  or  eight  thousand  dollars,  in  fitting  a  ground-floor 
reception  room,  and  pay  $iOOO  per  annum  for  rent  alone, 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  883 

for  the  single  purpose  of  prosecuting  our  art,  was  Eufus 
Anson,  of  Broadway,  New  York,  His  bold  venture  was 
justified  by  the  speedy  increase  of  his  business  fourfold. 

Charles  D.  Fredericks  &  Co.,  of  New  York,  took  a 
house  at  $9500  rent,  and  expended  eight  or  ten  thousand 
dollars  in  fitting  it  with  a  ground-floor,  ofiice,  and  recep- 
tion room,  and  furnishing  the  establishment  throughout 
with  appliances  for  carrying  on  all  branches  of  the  busi- 
ness to  the  best  advantage.  The  spirited  enterprise  was 
a  rich  pecuniary  triumph. 

In  Philadelphia,  O.  H.  Willard,  Eehn,  Hurn,  Cooper, 
Gutekunst,  Hippie,  Turner,  Morgan,  and  some  others, 
have  also  ground-floor  reception  and  sky-light  rooms, 
elegantly  and  expensively  fitted  up. 

Although  the  advance  of  the  heliographic  art  has, 
within  the  last  five  years,  been  rapid  almost  beyond 
calculation,  yet,  strange  to  say,  comparatively  few  of  the 
profession  appear  to  have  kept  a  complete  set  of  books, 
comprising  a  full  and  accurate  account  of  their  business 
transactions. 

Mr.  A.  Bogardus  is  one  of  these  few.  Commencing 
the  daguerreotype  practice  in  New  York  city,  in  1846 ; 
in  1862  he  refitted  the  old  Eoot  Gallery,  363  Broad- 
way, and  made  his  spacious  and  convenient  rooms  pleas- 
antly attractive  to  his  numerous  visitants  and  friends. 

Order  the  most  complete  is  visible  throughout.  Mr. 
Montgomery,  his  book-keeper,  has  devised  and  intro- 
duced a  perfect  system  of  accounts  and  check  books, 
specially  adapted  to  the  photographic  business,  whereby 
all  confusion  in  the  management  of  affairs  is  prevented. 
No  losses,  moreover,  are  now  sustained,  but  much  on 
the  contrary  is  saved. 

In  the  first  year  after  opening  in  Broadway,  the 
business  amounted  to  over  $33,000,  and  between  twenty 


884  THE  CAMERA  AND  THE  PENCIL. 

five  and  thirty  persons,  male  and  female,  are  employed 
therein. 

The  Messrs.  Lewis,  father  and  sons,  of  New  York  city, 
have,  during  the  last  twenty  years,  been  widely  known 
throughout  the  United  States,  as  inventors  and  manu- 
facturers of  the  finest  qualities  of  almost  every  species 
of  instrument  used  in  the  daguerreotype,  as  well  as  the 
heliographic  business  in  general.  The  profession  are 
deeply  indebted  to  them  for  their  valuable  improvements, 
which  have  essentially  aided  in  the  prosecution  and 
advancement  of  the  art  in  all  its  numerous  branches. 

E.  A.  Lewis,  manufacturer  of  Lewis  &  Holt's  cele- 
brated collodion,  Chatham  street,  has,  after  twenty  years' 
experience,  and  persistent  energetic  effort,  created  a 
business  that  requires  from  thirty  to  forty  employes, 
male  and  female,  to  take  and  fill  orders.  The  amount 
of  materials  used,  and  the  number  of  card-portraits,  and 
of  plain  and  finished  pictures  of  the  several  styles,  taken 
by  this  establishment,  are  absolutely  amazing. 

1.  Blue  Glass, — for  sky -lights,  first  suggested  to  M.  B. 
Brady,  by  H.  H.  Snelling,  in  May,  1849. 

2.  Instantaneous  Daguerreotypes, — first  practically  made 
by  H.  H.  Snelling,  in  September,  1849,  at  which  date  he 
invented  an  electric  camera-box  for  that  purpose. 

3.  Condensing  Mercury  hath  top, — to  prevent  the  escape 
of  mercurial  fumes  into  the  room,  invented  by  H.  H. 
Snelling  in  1851.     Never  adopted. 

4.  Pantograph,  for  enlarging  Photographs, — invented  by 
H.  H.  Snelling,  in  July,  1853.  First  used  in  1855,  by 
C.  D.  Fredericks. 

5.  Colors, — to  be  employed  in  printing  bank  notes,  to 
prevent  photographic  counterfeiting,  first  suggested  by 
H.  H.  Snelling,  in  1854. 

6.  Besinized  Paper  process, — discovered  by  H.  H.  Snel- 


HISTOEY  OF  THE  HELIOGRAPHIC  ART.  386 

ling  in  1856,  and  first  put  in  practice  in  December  of 
that  year. 

7.  Printing  in  Colors  by  Carhon process, — first  attempted 
and  executed  by  H.  H.  Snelling,  in  July,  1858,  one  year 
before  any  other  attempt. 

It  may  not  be  generally  known,  that  Dagnerre  had  so 
strong  an  objection  to  having  his  portrait  taken,  that  he 
never  (it  is  believed)  sat  to  but  one  photographer ;  and 
this  was  our  countryman,  Charles  E.  Meade,  of  the  firm 
of  Meade  Brothers,  in  New  York.  Mr.  Meade  being  in 
France,  in  1848,  visited  Daguerre's  Chateau,  atBrie-sur- 
Marne,  for  the  purpose  of  taking  his  portrait, — not  being 
aware  of  Daguerre's  objection  to  being  thus  represented. 
Mr.  Meade's  request  was  politely  but  firmly  negatived, 
as  had  been  the  request  of  many  others, — among  them 
two  artists  from  the  United  States.  Eventually,  however, 
through  the  urgent  persuasion  of  his  wife  and  niece, 
Daguerre  was  induced  to  sit,  and  five  or  six  daguerreo- 
types of  him  were  taken  by  Mr.  Meade,  from  which 
numerous  copies  were  afterwards  produced  in  the  various 
modes  of  representation.  The  artist  also  took  a  daguer- 
reotype of  Daguerre's  Chateau  at  this  time.  In  1853, 
his  brother,  H.  N.  Meade,  took  one  of  Daguerre's  monu- 
ment, in  the  cemetery  of  Brie,  and  worked  in  the  labora- 
tory where  Daguerre  made  all  his  experiments.  He 
also  visited  M.  Niepce  St.  Victor,  and  saw  him  make 
daguerreotypes  in  the  natural  colors  by  the  camera  solely. 
These,  however,  could  not  be  rendered  permanent. 

In  1841,  Charles  Fontayne  began  daguerreotyping  in 
Baltimore,  Maryland.  In  1846,  he  removed  to  Cincin- 
nati, Ohio.  In  this  year  he  discovered  the  property  of 
the  camera  to  throw  a  magnified  image  on  a  screen.  In 
1853,  he  made  some  collodion  pictures.  In  1854,  he 
produced  life-size  photographs — the  first  ever  made  in 
25 


386  THE  CAMEEA  AND  THE  PENCIL. 

the  United  States,  he  says ;  and  his  statement  is  backed 
by  H.  H.  Snelling.  In  1855,  he  made  two  full-length 
portraits,  of  five  and  a  half  by  seven  feet  size.  In  1858, 
he  invented  a  machine  for  rapid  photographic  printing, 
designed  for  illustrating  books,  which,  with  the  most 
sensitive  paper,  and  by  development,  produces  four 
prints  per  second,  or  fourteen  thousand  four  hundred 
per  hour.  By  enlarging  the  condensing  lens  to  twenty 
inches,  fifty  thousand  per  hour  might  easily  be  produced. 
Mr.  Fontayne  says,  he  made  several  large  pictures  with 
the  condenser  some  years  before  this  was  patented  by 
Mr.  Woodward.  He  is  now  printing  with  his  machine, 
large  quantities  of  pictures  on  albumen  paper,  as  well  as 
vignette  portraits. 

In  May,  1854,  Mr.  Holmes,  Broadway,  New  York, 
invented  the  double  camera  for  taking  two  pictures  at 
once,  and  got  it  patented  by  the  United  States  Govern- 
ment. This  invention  comprises  both  a  mode  of  pro- 
ducing two  pictures  at  once,  and  a  double  box,  whereon 
the  tubes  or  lenses  are  fastened,  and  worked  upon  an 
angle  or  a  parallel  to  the  object,  as  required  for  stereos- 
copes, &c. 

In  August,  1862,  he  made  improvement  in  back- 
grounds, with  ornamental  floor-ground  combined  in  per- 
spective upon  the  back-ground — giving  depth  and  finish, 
in  illustrating  interior  or  exterior  scenes. 

Our  history  of  the  art  in  this  country  has  occupied  so 
much  space,  that  a  few  paragraphs  more  must  close  it. 
We  would  gladly  speak  at  some  length  of  many  other 
American  photographers,  whom  we  cannot  even  mention 
for  lack  of  room. 

The  few  names,  added  below  to  the  list  already  given, 
are  of  men,  with  most  of  whom  we  have  been  personally 
acquainted ;  men  who,  commencing  with  the  daguerreo- 


HISTORY  OF  THE  HELIOGKAPHIC  ART.  387 

type,  and  struggling  manfully  with  the  numerous  diffi- 
culties attending  the  introduction  of  a  new  art,  have 
kept  pace  with  all  its  improvements,  and  mastered  all 
the  new  phases  and  forms  it  has  assumed,  and  have  done 
very  much  towards  raising  it  to  that  position  of  popu- 
larity and  lucrativeness  which  it  at  present  holds.  The 
3''oung  aspirants  to  excellence  and  distinction  in  this 
now  highly  reputable,  extensively  useful,  and  profitable 
profession,  may  study  with  advantage  the  history  of  these 
pioneers;  finding  a  healthful  stimulus  to  their  career, 
in  the  tireless  energy,  the  unwearied  patience,  and 
the  indomitable  perseverance,  which  that  history  dis- 
closes. 

Among  this  class  are  Gabriel  Harrison  and  Douglas, 
of  Brooklyn,  New  York  ;  Griswold,  of  Columbus,  Ohio ; 
Ryder  and  North,  of  Cleveland,  Ohio ;  Perkins,  Pollock, 
and  Whiteharst,  of  Baltimore,  Maryland ;  Page,  of 
Washington,  D.  C. ;  Greorge  S.  Cooke,  Charleston,  South 
Carolina;  Porter,  Cincinnati,  Ohio;  Webster  &  Brother, 
Louisville,  Kentucky ;  Long  and  Brown,  St.  Louis, 
Missouri;  Samuel  Fassett,  Chicago,  Illinois;  S.  Eoot, 
Dubuque,  Iowa;  II,  S.  Brown,  Milwaukie,  Wisconsin; 
Douglas  Hovey,  Rochester;  Arthur  Cobden,  Troy;  Henry 
Glosser,  New  York;  D.  C.  Collins,  New  Haven,  Con- 
necticut ;  and  John  Keenan  and  Reimer,  Philadelphia. 

This  enumeration  has  been  extended  far  enough  for 
the  purposes  of  a  mere  historic  record.  A  few  facts  and 
comments  will  complete  what  we  have  to  say  here. 

Landscape  Photography,  executed  by  artists  possessing 
the  genius  of  a  Cole,  a  Durand,  a  Hart,  a  Church,  a 
Webber,  a  Sontag,  a  Hamilton,  or  a  Russell  Smith,  has 
hitherto  received  but  little  attention  in  the  United  States. 
Government,  however,  has  employed  some  in  various 
public  works,  while  others,  under  private  patronage  or 


888  THE  CAMEEA  AND  THE  PENCIL. 


as  amateurs,  have  produced  battle  scenes  and  views  of 
different  military  operations,  as  well  as  of  landscapes 
noted  for  sublimity  or  beauty.  In  Europe,  highly  accom- 
plished art-amateurs  have  produced,  and  are  still  con- 
stantly producing  exquisite  views  and  "  choice  bits"  of 
scenery,  architecture,  &c.,  which  are  highly  prized  and 
promptly  secured,  wherever  put  on  sale. 

Colonel  Nicholas  Pike,  formerly  our  minister  for 
several  years  to  Portugal,  practised  as  an  amateur,  while 
abroad,  all  the  various  processes,  whereby  landscapes 
have  been  taken  in  Europe.  He  moreover  became 
personally  acquainted  with  many  who  had  made  dis- 
coveries and  improvements  in  this  branch  of  photogra- 
phy; with  scientific  amateurs,  editors  of  journals,  authors, 
&G.,  engaged  therein,  and  was  (we  believe)  the  first  to 
introduce  the  dry  process  into  the  United  States. 

Since  his  return,  Colonel  Pike  has  practised,  as  an 
amateur,  all  the  varieties  of  the  art  which  have  succes- 
sively appeared ;  and  he  now  understands  the  whole  art, 
both  theoretically  and  practically,  quite  as  well  as,  if 
not  better  than,  any  other  amateur  in  our  country.  As 
the  corresponding  secretary  of  the  New  York  Photogra- 
phical  Society,  he  was  by  his  position,  as  well  as  by  his 
rare  photographic  knowledge  and  skill,  enabled  to  render 
me  (as  he  has  actually  done)  most  valuable  aid  in  collect- 
ing facts  and  preparing  the  second,  or  practical  part  of 
this  work.  His  love  for  science  and  art  in  general,  and 
his  special  devotion  to  the  heliographic  branch  of  the 
same,  have  appeared  to  make  of  this  a  pleasing  task ; 
and  while  I  can  congratulate  my  readers  on  their  thus 
enjoying  the  results  of  the  Colonel's  labors,  I  am  happy 
in  having  this  opportunity  to  present  my  grateful  ac- 
knowledgments for  his  kind  services  in  my  behalf. 


HISTORY  OF  THE  HELIOGKAPHIC  ART.  389 


PHOTOGRAPHIC  JOURNALS. 

The  first  journal  of  this  class,  which  was  established 
in  the  United  States,  for  promoting  the  interests  of  the 
photographic  profession,  and  the  improvement  of  the  art, 
was  started,  in  1850,  by  S.  D.  Humphrey,  in  New  York 
city,  and  is  now  widely  known,  as  "Humphrey's  Journal 
of  Photography,  and  the  allied  arts  and  sciences." 

This  was  soon  followed  by  the  "Photographic  and 
Fine  Art  Journal,"  edited  by  H.  H.  Snelling. 

These  journals  labored  long,  assiduously,  and  faithfully 
for  the  advance  of  the  art.  Unfortunately  for  the  pro- 
prietors, there  seems  to  have  been  too  little  intelligence 
in  the  Photographic  Fraternity,  to  give  to  both  these 
publications  a  liberal  and  living  support. 

Mr.  Snelling's  energetic  and  generous  efforts  not  being 
appreciated  and  sustained  by  those,  who  were  so  greatly 
benefited  by  the  vast  amount  of  various  information, 
which  he  carefully  gleaned  from  every  available  source, 
domestic  and  foreign,  and  laid  monthly  before  them ;  his 
journal  was  finally  suspended,  and  his  subscription-li^ 
was  transferred  in  1860  to  the  "American  Journal  of 
Photography,"  conducted  by  Charles  A.  Seely,  A.  M. 

From  this  date  the  collodion  process  began  to  attract 
general  attention,  and  to  engage  the  efforts  of  all  who 
were  interested  in  sun-painting ;  and  under  these  circum- 
stances, the  art  has  progressed  with  marvellous  celerity. 
By  the  fostering  care  of  more  intelligent  professionists 
and  amateurs,  scientific  institutions,  and  government 
patronage,  it  has  been  placed  on  a  solid  foundation, 
invested  with  artistic  dignity,  and  made  a  vocation  that 
promises  large  and  constantly  enlarging  pecuniary  re 
turns. 

Treatises  on  the  art  have  been  published  in  the  United 


390         THE  CAMERA  AND  THE  PENCIL. 


States,  by  Snelling,  Hill,  Humphrey,  Seely,  Gage,  Cole, 
Simons,  Hewett,  Bisbee,  Waldack,  Burgess  and  others ; 
while  probably  over  one  thousand  have  appeared  in 
Europe. 

The  last  two  of  the  above  named  have  passed  through 
several  editions ;  Burgess  having  recently  issued  his 
tenth.  His  work  is  a  neat,  well-arranged  little  hand- 
book, of  much  practical  value  to  the  student  and  the 
amateur  of  the  art. 

Mr.  N.  Gr.  Burgess  was  in  Paris,  early  in  1840, — the 
period  when  Daguerre,  through  his  recent  discovery, 
was  "the  observed  of  all  observers," — and  naturally 
made  some  investigations  of  the  art,  as  then  known  (and 
practised).  His  business  there  brought  about  an  ac- 
quaintance with  one  of  the  artisans,  who  had  taken  part 
in  constructing  Daguerre's  first  sun-painting  apparatus. 
From  him  and  another  person  he  took  his  earliest 
daguerreotype  lessons,  and  sketched  some  of  the  public 
edifices  of  Paris.  Owing  to  his  imperfect  appliances,  his 
pictures  (he  says)  were  very  unsatisfactory.  Hearing 
that  Professors  Draper  and  Morse  had  produced  portraits 
from  life,  he  proposed  to  the  artisan,  above  mentioned, 
to  attempt  his  (Burgess')  portrait.  The  result,  however, 
of  eight  or  ten  minutes'  exposure  to  the  solar  ray  was  so 
wretched,  that  the  experiment  was  abandoned,  under  the 
conviction  that  portraits  could  never  be  thus  taken. 

Mr.  Burgess  saw  Daguerre,  and  says  his  manner  was 
reserved  and  distant.  He  appeared  very  nervous  and 
restless — symptoms  ascribed  to  his  being  affected  with 
dyspepsia. 

The  following  are  extracts  from  the  speech  of  Professor 
S.  F.  B.  Morse,  at  the  annual  supper  of  the  National 
Academy  of  Design,  April  24th,  1840 : — 

"  Gentlemen : — I  have  been  requested  to  give  my 
opinion  of  the  probable  effects  to  be  produced,  by  the 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  39^1 


discovery  of  Daguerre,  on  the  Arts  of  Design.  It  is 
known  to  most  of  you,  that,  for  many  months,  I  have 
been  engaged  in  experiments  with  the  daguerreotype, 
more  particularly  for  the  purpose  of  forming  an  intelligent 
judgment  on  this  point. 

"  The  daguerreotype  is  undoubtedly  destined  to  pro- 
duce a  great  reuolution  in  art,  and  we,  as  artists,  should 
be  aware  of  it  and  rightly  understand  its  influence.  This 
influence,  both  on  ourselves  and  the  public  generally, 
will,  I  think,  be  in  the  highest  degree  favorable  to  the 
character  of  art. 

"Its  influence  on  the  artist  must  be  great.  By  a  sim- 
ple and  easily  portable  apparatus,  he  can  now  furnish  his 
studio  with  facsimile  sketches  of  nature,  landscapes, 
buildings,  groups  of  figures,  kc,  scenes  selected  in 
accordance  with  his  own  peculiarities  of  taste ;  but  not, 
as  heretofore,  subjected  to  his  imperfect,  sketchy  transla- 
tions into  crayon  or  Indian  ink  drawings,  and  occupying 
days,  and  even  weeks,  in  their  execution  ;  but  painted  by 
Nature's  self  with  a  minuteness  of  detail,  which  the 
pencil  of  light  in  her  hands  alone  can  trace,  and  with  a 
rapidity,  too,  which  will  enable  him  to  enrich  his  collec- 
tion with  a  superabundance  of  materials  and  not  copies ; — 
they  cannot  he  called  copies  of  nature,  hut  portions  of  nature 
herself. 

"Must  not  such  a  collection  modify,  of  necessity,  the 
artist's  productions  ?  Think  how  perspective,  and,  as  a 
consequence,  proportion  also,  are  illustrated  by  these 
results.  How  the  problems  of  optics  are,  for  the  first 
time,  confirmed  and  sealed  by  nature's  own  stamp !  See, 
also,  what  lessons  of  light  and  shade  are  brought  under 
the  closest  scrutiny  of  the  artist ! 

"  To  the  architect  it  offers  the  means  of  collecting  the 
finest  remains  of  ancient,  as  well  as  the  finest  productions 
of  modern  architecture,  with  their  proportions  and  details 


392         THE  CAMERA  AND  THE  PENCIL. 

of  ornament,  executed  in  a  space  of  time,  and  witli  an 
exactness^  whicli  it  is  impossible  to  compress  in  the 
ordinary  modes  of  an  architect's  study. 

"I  have  but  a  moment  to  speak  of  the  effect  of  the 
daguerreotype  on  the  public  taste.  Can  these  lessons  of 
nature's  art  (if  I  may  be  allowed  the  seeming  paradox), 
read  overj  day  by  thousands  charmed  with  their  beauty, 
fail  of  producing  a  juster  estimate  of  the  artist's  studies 
and  labors,  with  a  better  and  sounder  criticism  of  his 
works  ?  Will  not  the  artist,  who  has  been  educated  in 
Nature's  school  of  truth,  now  stand  forth  pre-eminent, 
while  he,  who  has  sought  his  models  of  style  among 
fleeting  fashions  and  corrupted  tastes,  will  be  left  to 
merited  neglect  ? 

"  I  should  feel,  gentlemen,  that  I  had  been  greatly 
deficient,  if  I  did  not  add  a  few  words  attesting  my 
admiration  for  the  genius  of  the  great  discoverer  of  this 
photogenic  process,  I  have  for  months  been  occu- 
pied with  experiments,  repeating  those  of  Daguerre,  and 
modifying  both  the  apparatus  and  the  process,  by  my 
own  experience  and  the  suggestions  of  scientific  friends, 
and,  as  the  result  of  all,  I  must  say  that,  at  every  step 
of  my  progress,  my  admiration  for  his  genius  and  perse- 
verance has  increased.  I  could  not  but  constantly  reflect, 
if.  with  the  details  fully  revealed,  of  a  process,  whereby 
a  sure  result  could' be  obtained,  so  much  to  discourage  be 
encountered,  what  must  have  been  his  discouragement, 
who,  when  one  experiment  after  another  failed,  had  only 
darkness,  uncertainty,  and  doubt  for  his  comforters! 
And  yet  he  triumphed  over  all,  and  in  the  lists  of  fame 
the  name  of  Daguerre  will  deservedly  stand  by  the  side 
of  Columbus  and  Gralileo,  and  Papin  and  Fulton. 

"Gentlemen,  in  closing,  I  offer  you  the  following 
sentiment : — Honor  to  Daguerre,  who  has  first  introduced 
Nature  to  us,  in  the  character  of  PainterP 


CHAPTER  XXX. 

HISTORY  OF  THE  HELIOGRAPHIC  ART  IN  EUROPE. 

Rapidity  of  the  progress  of  the  art  and  its  numerous  applications — Camera 
obscura  discovered  two  hundred  years  ago — Crystallizing  of  various  salts  by 
light,  discovered  in  eighteenth  century — Investigations  of  these  subjects  in 
that  century  by  several  savans — Wedgewood  and  Davy  first  tried  to  fix 
images  by  light  in  1800-3 — Unsuccessful — Hyposulphite  soda  discovered  by 
Hersehel,  1819 — Niepce,  Daguerre,  and  Talbot  first  fixed  images  in  Europe — 
Anecdote  of  Daguerre's  wife  and  Dr.  Dumas — Variations  of  the  calotype  by 
difierent  operants — Waxed-paper  process — Glass  plates  for  pictures  suggested 
by  Hersehel — Albumen,  gelatine,  &e.,  used  for  coating  such — Collodion  now 
preferred  to  all  other  coatings — Variations  and  improvements  made  by 
several  practical  photographers  and  amateurs. 

Among  the  most  extraordinary  phenomena  of  modern 
days  may  be  counted  the  rapidity  with  which  the  sun- 
painting  art  has  been  developed,  and  the  great  variety 
of  applications,  both  useful  and  ornamental,  which  have 
already  been  made  of  it.  But  twenty-four  years  have 
elapsed  since  Daguerre  made  known  his  process  to  the 
world,  and  submitted  to  public  inspection  pictures,  which 
in  comparison  with  those  now  produced,  would  be  called 
quite  inferior,  and  even  poor:  and  yet  within  this  brief 
interval,  heliography  has  become  one  of  the  most  valua- 
ble and  generally  prized  of  existing  arts.  The  beautiful 
toy,  entitled  the  Camera  Obscura,  and  the  observation 
of  the  effects  of  the  sunbeam  on  certain  chemically 
prepared  surfaces,  were  the  two  main  agencies  to  which 
the  discovery  of  our  art  was  due. 

The  camera  obscura,  one  of  these,  was  discovered 
about  two  centuries  ago,  by  Giovanni  Baptiste  Porta,  a 
Neapolitan  physician. 

It  seems  strange,  that  the  ancient  philosophers  should 
not  have  observed  and  applied  to  some  use  the  chemical 

(393) 


394         THE  CAMEEA  AND  THE  PENCIL, 

properties  of  liglit,  whicli  are,  in  many  ways,  so  obvious, 
even  to  casual  inspection.  If  they  did  so,  no  record  of 
their  proceedings  has  hitherto  reached  us. 

There  is  a  tradition  existing,  that  the  Oriental  jugglers 
possessed  for  ages  a  secret  process,  whereby  they  could 
rapidly  transcribe  a  person's  profile  by  the  agency  of 
light.  Whatever  the  fact  may  once  have  been,  this  class 
of  individuals  are  not  known  to  possess  any  such  know- 
ledge now. 

The  alchymists  of  the  middle  ages,  in  their  search  for 
the  philosopher's  stone  and  the  elixir  vitse,  chanced 
upon  a  peculiar  combination  of  silver  with  chlorine,  an 
element  with  which  they  were  unacquainted,  and  which 
they  named  horn-silver,  from  the  resemblance  borne  to 
horn  by  the  white  precipitate  obtained  through  fusion. 
As  early  as  the  16th  century  they  noticed,  that  this 
silver  was  blackened  by  light ;  but,  as  thej^  failed  to  get 
gold,  as  they  expected,  from  this  substance,  they  merely 
recorded  the  blackening,  without  investigating  the  phe- 
nomenon farther.  The  18th  century  brought  a  more 
thorough  examination  of  this  curious  fact,  and  about  the 
same  period,  the  effect  of  light  in  the  crystallizing  of 
various  salts  was  first  observed.  In  1722,  Petit  pub- 
lished his  investigations  of  this  latter  subject,  while 
Chaptal  published  his  in  1788,  and  Dieze  his  in  1789. 

Scheele  studied  closely  the  phenomenon  of  the  black- 
ening of  chloride  of  silver  by  light ;  more  especially  the 
influence  of  the  several  prismatic  rays  in  producing  this 
effect ;  and  published  the  results  of  his  studies  in  1777. 
He  discovered,  among  other  things,  that  the  violet  ray 
wrought  this  change  much  sooner  than  any  of  the  other 
colors. 

In  1790,  Sennebier  found,  that  fifteen  minutes'  expo- 
sure to  the  violet  ray  imparted  to  chloride  of  silver  the 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  395 

same  blackness  whicli  it  required  twenty  minutes'  action 
of  the  red  ray  to  produce. 

In  1801,  Eitter  discovered,  that  the  chemical  action 
of  light  extends  beyond  the  colored  rays  of  the  spectrum, 
there  manifesting  itself  through  invisible  rays. 

In  a  recent  publication  of  Lord  Brougham,  he  states, 
that  in  1796  he  had  published  in  the  "Philosophical 
Transactions"  a  paper  on  light  and  color,  containing 
remarks  on  the  effects  of  exposing  a  plate  of  ivory, 
moistened  with  nitrate  of  silver,  to  the  sun's  rays  passing 
through  a  narrow  aperture  into  a  dark  room.  The  secre- 
tary of  the  society,  for  reasons  of  his  own,  omitted  these 
remarks,  and  thus,  it  may  be,  delayed  the  discovery  of 
heliography  for  nearly  half  a  century. 

Scheele's  researches,  mentioned  above,  seem  to  have 
had  a  powerful  influence  upon  the  scientific  world,  for 
he  was  followed,  in  the  same  or  similar  tracks  of  inquiry, 
by  numbers  of  the  leading  savans  in  all  parts  of  Europe. 
Among  these  may  be  mentioned  Berard,  Seebeck,  Ber- 
thollet,  Wunsch,  Sir  William  Herschel,  Sir  Henry  En- 
glefield.  Dr.  Wollaston,  Count  Rumford,  Morichini,  Con- 
figliachi,  Berzelius,  and  that  admirable  specimen  of 
womanhood,  Mrs.  Somerville.  Sir  Humphrey  Davy 
also  made  some  curious  discoveries,  which,  with  those 
made  by  the  others  above  named,  constituted  a  mass  of 
materials,  which  brought  the  world  to  the  verge  of  the 
great  discovery  we  are  recording. 

But  the  following  experiment,  detailed  in  sundry  old 
books,  is  so  definite  in  its  forward-pointings,  as  to  cause 
wonder  that  more  was  not  made  of  it :  "  Dissolve  chalk 
in  aqua  fortis  to  the  consistence  of  milk,  and  add  thereto 
a  strong  solution  of  silver.  Keep  this  liquid  in  a  well- 
stopped  glass  decanter ;  then  cutting  out  from  a  paper 
the   letters   you  would   have   appear,   paste   it   on   the 


396         THE  CAMEKA  AND  THE  PENCIL. 

decanter,  and  lay  the  latter  in  tlie  sun's  rays,  so  that  the 
rays  may  pass  through  the  spaces  cut  out  of  the  paper 
and  fall  on  the  surface  of  the  liquid.  Then  will  that 
part  of  the  glass  through  which  the  rays  pass,  be  turned 
black,  while  that  beneath  the  paper  remains  white. 
Special  care,  however,  must  be  taken  that  the  bottle  be 
not  moved  during  the  operation." 

It  is  not  very  unlikely  that  the  experiments  next  men- 
tioned were  suggested  by  this. 

The  earliest  known  attempts  at  fixing  images  by  the 
chemical  influence  of  light,  were  those  of  Davy,  and  of 
"Wedgwood,  the  great  improver  of  English  porcelain 
manufacture.  In  the  "Journal  of  the  Royal  Institution," 
of  1803,  appeared  a  paper  by  the  latter,  with  appended 
comments  by  the  former,  entitled  "  An  account  of  a 
method  of  copying  paintings  upon  glass,  and  of  making 
profiles  by  the  agency  of  light  upon  nitrate  of  silver." 

White  paper,  or  white  leather,  saturated  with  a  solu- 
tion of  nitrate  of  silver  (instead  of  the  chloride)  was 
selected  as  the  impressible  surface.  They  made  nume- 
rous experiments,  with  greater  or  less  degrees  of  success 
in  getting  the  images  of  objects.  Neither,  however,  was 
able  to  produce  a  surface  sufficiently  sensitive  to  receive 
proper  impressions  from  the  subdued  light  of  the  camera, 
Davy  used  to  better  purpose  the  solar  microscope  for 
obtaining  images  of  small  objects.  He  states,  moreover, 
that  he  found  the  chloride  more  sensitive  than  the  nitrate 
of  silver. 

Having  no  agents  to  fix  the  images  and  to  prevent  the 
coloring  of  the  white  parts  by  exposure  to  light,  these 
gentlemen  relinquished  their  experiments.  Iodine  was 
not  discovered  till  1811,  and  hyposulphite  of  soda  was 
discovered  by  Sir  John  Herschel  only  in  1819 ;  and 
without   these   indispensables   to    the   art,   heliography 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  397 

could  not  advance  further  than  "Wedgwood  and  Davy 
had  carried  it. 

In  1814  Joseph  Nic^phore  Niepce,  a  retired  business 
man,  residing  at  Chalons,  on  the  Saone,  directed  his 
attention  to  the  chemical  effects  of  light,  with  the  object 
of  "fixing"  the  images  of  the  camera.  Having  found 
that  the  sunbeam  would  alter  the  solubility  of  various 
resinous  substances,  he  spread  a  thin  layer  of  asphaltum 
on  a  glass  or  metal  plate,  and  placed  this  in  the  camera. 
Five  or  six  hours  after  he  found  on  the  plate  a  latent 
image,  which  became  visible  by  the  application  of  a 
solvent  to  the  surface  of  the  plate. 

Thirteen  years  later  (in  1827)  Niepce  experimented 
with  the  art  at  Kent,  in  England.  Some  of  the  pictures 
there  made  are  still  left.  They  somewhat  resemble  the 
daguerreotypes,  though  far  inferior  to  them. 

Louis  Jacques  Maude  Daguerre,  resided  about  nine 
miles  from  Paris,  at  the  town  of  Brie  upon  the  Marne ; 
was  a  painter  by  profession ;  a  member  of  the  French 
Academy  of  Fine  Arts  and  other  similar  institutions; 
stood  high  as  a  scientific  man ;  and  was,  moreover,  much 
esteemed  for  his  goodness  and  geniality  of  character.  In 
1824  he  began  experimenting,  to  fix  the  images  of  the 
camera  by  various  chemical  agencies,  employing,  like 
Wedgwood,  both  the  chloride  and  nitrate  of  silver  spread 
upon  paper.  In  1826  he  became  acquainted  with  Niepce, 
and  from  that  time  forward  the  two  pursued  their  re- 
searches and  experiments  jointly.  In  1829  a  copartnery 
contract  was  executed  between  them  for  mutually 
investigating  the  subject.  Niepce  had,  in  1826,  already 
solved  the  problem  that  had  baffled  Wedgwood  and 
Davy,  and  made  his  copies  of  objects  insensible  to  the 
rays  of  the  sun.  He  called  his  discovery  "Heliography," 
or  Sun-sketching,   a  more  accurate  title  than   "Photo- 


398  THE  CAMERA.  AND  THE  PENCIL. 

graphy,"  or  Liglit-sketching,  since  the  pictures  are  not 
produced  by  the  light-rays,  but  by  the  actinic  rays  of  the 
solar  orb. 

The  reader,  I  think,  will  be  interested  in  the  following 
anecdote  in  relation  to  Daguerre,  related  by  the  distin- 
guished French  chemist,  Dumas.  A  lady,  says  he,  came 
up  to  him  at  the  close  of  a  lecture  in  1825,  and  said : 
"  Monsieur  Dumas,  as  a  scientific  man,  I  have  a  question, 
of  vital  importance  to  myself,  to  ask  you.  I  am  the 
wife  of  Daguerre,  the  painter.  For  some  time  he  has  let 
the  idea  seize  him,  that  he  can  fix  the  image  of  the 
camera.  Do  you  think  it  possible?  He  is  always  at  the 
thought ;  he  can't  sleep  at  night  for  it.  I  am  afraid  he 
is  out  of  his  mind.  Do  you,  as  a  man  of  science,  think 
it  can  ever  be  done,  or  is  he  mad?"  "In  the  present 
state  of  knowledge,"  said  Dumas,  "  it  cannot  be  done ; 
but  I  cannot  say  it  will  always  remain  impossible,  nor 
set  the  man  down  as  mad  who  seeks  to  do  it." 

If  such  was  Daguerre's  mood  fourteen  years  before  he 
had  brought  his  process  to  a  fitness  for  publication,  we 
may  form  some  conception  of  what  his  discovery  must 
have  cost  him.  At  any  rate,  he  exhibited  the  true 
temper  of  one  of  the  few  whom  genius  predestines  to 
immortality. 

In  1829  Daguerre  and  Niepce,  for  the  first  time, 
employed  for  blackening  the  heliographic  plate,  iodine, 
which  was  discovered  in  1811,  by  M.  Courtois,  of  Paris, 
in  the  kelp  or  ashes  of  sea-weeds. 

Niepce  died  in  1833,  and  his  son  Isidore  succeeded  him, 
as  copartner  of  Daguerre  in  heliographic  researches  and 
experiments. 

In  January  1839,  Daguerre  announced  his  great  in- 
vention, which  has  since,  by  common  consent,  borne  his 
name.     In  the  following  July,  the  Chamber  of  Deputies 


HISTORY  OF  THE  HELIOGRAFHIC  ART.  899 

voted  to  Daguerre  an  annual  pension  of  6000  francs 
(subsequently  increased  to  10,000),  and  one  of  4000 
francs  to  Isidore  Niepce,  on  condition  that  they  should 
publish  to  the  world  a  full  description  of  the  processes 
by  which  their  pictures  were  produced,  and  also  make 
known  all  the  improvements  which  might,  from  time  to 
time,  be  made  therein.  Eeversions  of  one-half  these 
several  sums  were,  by  the  same  law,  secured  to  the 
widows  of  Daguerre  and  Niepce. 

At  the  time  the  copartnership  was  formed  between 
Daguerre  and  the  elder  Niepce,  it  appears,  that  both 
made  their  experiments  chiefly  on  plates  of  copper  or 
silver,  coated  with  different  kinds  'of  varnishes  and 
essential  oils,  without  the  use  either  of  iodine  or  mercury. 
Finally,  however,  after  a  long  course  of  observations  and 
experiments,  Daguerre  exposed  an  iodized  plate  in  the 
camera,  and  then  over  boiling  mercury  in  an  iron  cruci- 
ble. At  first  there  was  no  favorable  result ;  but,  on 
repeating  the  experiment,  he  found,  after  the  exposure 
of  the  plate  to  the  mercury,  a  dim  shadow  on  the  outer 
edge  of  it,  and  the  thought  occurred,  that  here  the  heat 
had  been  less  intense.  Whereupon  he  reduced  the  tem- 
perature, and  obtained  a  picture.  Daguerre  remarks, 
that  the  image  is  finer  on  copper  plated  with  silver  than 
on  silver.  If  such  be  the  fact,  does  it  not  intimate  that 
electricity  plays  a  considerable  part  in  the  operation? 
(See  chapters  on  Galvanizing  and  Actinism.) 

Daguerre  employed  only  iodine  in  coating  the  plate. 
Since  that  date,  as  we  shall  see  further  along,  great  im- 
provements  have  been  made  by  using  accelerating  sub- 
stances, and  thus  rendering  the  plate  far  more  sensitive 
to  the  action  of  light.  Among  these  accelerators  are 
bromine,  chloride  of  iodine,  and  finally,  a  compound  of 


400         THE  CAMERA  AND  THE  PENCIL. 

the  three,  of  which  I  shall  speak  with  some  detail  here- 
after. 

On  January  31st,  1839,  Henry  Fox  Talbot  communi- 
cated to  the  Royal  Society  his  photographical  discoveries, 
and,  on  the  21st  of  February  following,  he  published  a 
description  of  his  methods  of  preparing  the  paper  used 
in  his  processes.  He  did  this  by  dipping  the  paper  into 
a  solution  of  common  salt,  and  then  applying  to  the  sur- 
face a  solution  of  chloride  or  nitrate  of  silver — mostly 
the  latter.  After  getting  the  image  in  the  camera,  he 
fixed  it  by  again  immersing  the  paper  in  a  strong  solu- 
tion of  common  salt.  He  was  able  to  make  paper  so 
sensitive,  as  to  obtain  the  picture  of  an  object,  under  full 
sunshine,  in  half  a  second.  The  paper  here  referred  to, 
was  that  used  by  him  for  taking  copies  of  objects  by 
means  of  the  solar  telescope. 

Whether  Talbot's  attention  was  first  turned  to  helio- 
graphic  researches  by  Niepce's  communication  to  the 
Royal  Society  in  1827,  or  whether  he  had  commenced  his 
investigations  before  this,  I  know  not.  It  is  understood, 
however,  that  he  conducted  his  experiments  indepen- 
dently, and  without  even  being  acquainted  with  the 
Frenchman. 

On  March  14th,  1839,  Sir  John  Herschel  made  a  com- 
munication to  the  Royal  Society,  recommending  the  use 
of  hyposulphite  of  soda  as  a  fixing  agent.  On  February 
20th,  1840,  he  sent  to  the  Society  a  paper  on  the  "  chemi- 
cal effects  of  light  in  the  solar  spectrum,"  wherein  he 
recommends  using  this  solution  hot  in  the  case  of  iodide 
of  silver,  as  this  salt  is  less  readily  dissolved  by  the  cold 
solution  of  the  hyposulphite,  than  is  chloride  of  silver. 

In  1840,  Rev.  J.  B.  R-  de  used,  with  good  effect,  the 
hvposulphite  solution  to  fix,  and  the  infusion  of  galls  to 
accelerate,  the  formation  of  the  picture.     At  the  same 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  401 

time  the  former  is  known  to  have  been  habitually  em- 
ployed by  Daguerre,  Kobert  Hunt,  and  others,  in  addition 
to  Herschel. 

In  the  last  paper  named,  Herschel  also  recommended 
the  employment  of  iodide  of  potassium,  to  convert  the 
nitrate  of  silver  on  the  paper  into  iodide  of  silver,  and 
gave,  moreover,  the  peculiar  properties  of  the  iodized 
paper. 

In  July  1841,  Robert  Hunt  read,  before  the  British 
Association  at  Plymouth,  a  paper  "  On  the  influence  of 
the  yellow  ferrocyanide  of  potassium  upon  iodide  of 
silver,  and  on  the  high  sensitiveness  of  the  same,  as  a 
photographic  preparation,"  giving  also  instructions  how 
to  prepare  the  iodized  paper. 

Iodized  paper  was  used  likewise  by  Eyan,  Lassaigne, 
and  others ;  and  it  seems  pretty  certain  that  this  paper, 
as  prepared  according  to  the  instructions  given  by  Her- 
schel, Hunt,  and  others,  was  an  article  of  commerce, 
before  the  patent  for  the  Calotype  of  Talbot  had  been  ob- 
tained. 

I  have  already  stated,  that  in  1839,  Talbot  published 
to  the  world  his  photographic  discoveries,  together  with 
his  methods  of  producing  his  pictures.  From  this  period 
he  continued  his  studies  and  experiments  until  1842, 
when  he  published  and  procured  a  patent  for  a  process, 
which  was  a  considerable  improvement  upon  his  original 
one,  and  was  called  by  him  the  "  Calotype,"  from  the 
two  Greek  words,  yiaXoq  rur.oq^  "  beautiful  sketch."  In  this 
country,  however,  I  believe  his  pictures  are  oftenest  en- 
titled Talbotypes,  on  the  same  principle  that  Daguerre's 
are  called  Daguerreotypes.  Talbot  subsequently  obtained 
a  second  patent  for  his  calotype  process,  in  which  he  had 
introduced  still  further  (supposed)  improvements.  To 
what  extent  the  calotype  is  now  in  vogue  across  the  water, 
26 


402         THE  CAMEEA  AND  THE  PENCIL. 

I  know  not,  I  believe,  however,  that  albumen,  collodion, 
and  some  other  pictures  have,  to  a  great  degree,  taken  its 
place. 

It  will  fall  next  in  the  order  of  this  historic  summary 
to  give  some  account  of  several  variations  of  heliography 
on  paper,^  which  closely  followed,  and  may  be  supposed 
to  have  been  suggested  by  Talbot's  discovery.  I  have 
space  merely  to  name  these,  with  their  discoverers,  leaving 
to  the  reader  to  seek  their  description  elsewhere. 

1.  The  Chrysotype.  This  process  was  communicated 
to  the  Eoyal  Society,  June  1842,  by  Sir  John  Herschel. 

2.  The  Cyanotype  was  also  a  discovery  of  Herschel. 
He  describes  several  varieties  of  this  process,  which  it 
were  hardly  worth  the  while  to  introduce  here. 

3.  The  Chromotype  was,  substantially,  a  discovery  of 
the  French  savans,  Pontin  and  Becquerel.  Under  this 
specific  name,  however,  it  appears  to  have  been  first  an- 
nounced to  the  British  Association,  in  1843,  by  Eobert 
Hunt. 

4.  The  Catalissotype  was  communicated  in  1854  to 
the  British  Association  by  Dr.  Thos.  Woods,  of  Dublin. 

5.  The  Amphitype  is  another  of  Herschel 's  discoveries. 
Its  name  "  double  sketch,"  is  derived  from  the  fact  that 
two  pictures  are  produced  by  the  same  action  of  light, 
with  different  subsequent  manipulations. 

6.  The  Anthotype  seems  to  have  been  a  joint  produc- 
tion of  Herschel,  Chevreuil,  and  Robert  Hunt.  Its  na- 
ture is  defined  by  its  etymology  "flower  sketch,"  the 
juices  of  various  flowers,  bruised  and  treated  with  small 
portions  of  alcohol,  being  used  for  washing  the  paper,  in- 
stead of  mineral  solutions.  See  Prof.  Draper  "  On  the 
Growth  of  Plants,"  1860. 

7.  The  Gaudinotype  takes  its  name  from  its  French 
discoverer,  Gaudin. 

8.  The  Energiotype  was  a  discovery  of  Robert  Hum, 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  403 

and  made  public  througli  the  Athengenm.  I  suppose  it 
was  thus  named  from  the  sensitiveness  of  its  impressible 
surface,  and  the  consequent  energy  with  which  the  sun- 
beam acts  upon  it. 

9.  Thermography  means,  etymologicallj,  heat-sketch- 
ing. The  process,  a  very  curious  one,  was  discovered 
by  Moser,  of  Koningsberg,  in  Prussian  Poland. 

The  above  variations  of  the  talbotype  are  not  known 
to  be  much  used,  or  ever  to  have  been,  by  professional 
heliographers.  They  have,  however,  subserved  a  good 
purpose  by  enlarging  our  knowledge  of  the  materials, 
the  agencies,  and  the  methods  of  operation  pertaining  to 
the  general  art.     (See  Prof.  Draper's  Tithinotype). 

10.  The  waxed-paper  process  has  been  and  still  is 
much  more  in  vogue  than  either  of  the  above.  Its  in- 
vention is  generally  ascribed  to  Le  Gray ;  though  some 
hold,  that  its  first  announcement  to  the  public  was  due  to 
Fabre.  A  peculiarity  of  this  process  is,  that  the  first 
step  is  to  saturate  the  paper  with  pure  white  wax.  A 
great  advantage  of  paper  th  us  prepared  is,  that  it  may  be 
used  some  time  after  excitement,  and  that  even  the  hottest 
weather  does  not  impair  its  capacity  for  use.  For  this 
reason  it  is  very  serviceable  to  excursionists  and  travellers. 
This  process  has  been  very  successfully  practised  by  sev- 
eral eminent  photographers,  among  whom  Mr.  Fenton 
has  been  one  of  the  most  successful. 

11.  Albumen  process.  Sir  John  Herschel  is  said  to 
have  first  suggested  glass  plates  for  heliographic  uses, 
M.  Niepce  de  St.  Victor,  nephew  of  Niepce,  the  associate 
of  Daguerre,  published,  in  1848,  a  mode,  devised  by  him- 
self, for  applying  albumen  to  such  plates.  Blanquart 
Everard  followed  ;  and  albumen,  gelatine,  serum,  and 
other  substances  were  successively  recommended  for  appli- 
cation to  glass.     Albumen,  however,  employed  according 


404  THE  CAMEEA  AND  THE  PENCIL. 

to  Le  Gray 's  directions,  is  found  to  answer  better  than 
any  other  of  these.  The  methods  of  Mayall  and  Negretti 
are  also  good. 

12.  Collodion  process.  Collodion,  at  present,  is  put 
by  general  consent  at  the  head  of  all  heliographic  agents. 
It  is  prepared  from  gun-cotton.  Gun-cotton,  according 
to  an  English  authority,  was  discoyered  by  Schonbein,  a 
German  professor  in  the  Swiss  University  of  Berne,  in 
1841.  He  made  it  by  dissolving  cotton  in  a  mixture  of 
nitric  and  sulphuric  acids.  The  German's  claim  has 
been  somewhat  contested,  but  the  matter  is  unimportant. 
Collodion — a  name  taken  from  the  Greek  Y.oXhv ,  "  to  ad- 
here"— is  made  by  dissolving  gun-cotton  in  ether  mixed 
with  alcohol.  The  best  authorities  make  Dr.  Josiah  Curtis, 
of  Boston,  Mass.,  the  discoverer  of  it,  early  in  1846.  The 
first  use  of  it  was  its  application  to  wounds,  in  place  of  the 
ordinary  bandages.  An  attempt  was  made,  in  Philadel- 
phia, 1848,  to  use  collodion  for  heliographic  purposes,  by 
Frederick  Langenheim,  at  the  suggestion  of  Dr.  Chas.  S. 
Rand,  of  the  same  city.  The  attempt  failed ;  and  Fred- 
eric Scott  Archer,  of  England,  is  generally  accredited  as 
having  first  used  it  successfully.  He  published  his  pro- 
cess in  1851.  Collodion  soon  came  into  general  use,  and 
numerous  variations,  greater  or  less,  from  his  method 
became  common,  to  which  we  shall  briefly  refer. 

The  applications  of  collodion  may  be  ranged  under 
two  principal  heads. 

1st.  The  Ambrotype,  a  positive  picture  made  upon 
a  collodion-covered  plate  of  glass,  upon  which  is  laid 
a  second  plate,  hermetically  fixed  thereon  by  some 
adhesive  substance,  so  that  neither  air  nor  water  can 
reach  the  impression.  Hence  the  title,  derived  from  the 
Greek  Ambi-otos,  immortal,  imperishable. 

2.  A  negative  picture  is  impressed  upon  a  plate,  and 


HISTORY  OF  THE  HELIOGBAPHIC  ART.  405 

from  this  are  printed  indefinite  numbers  of  positives 
upon  prepared  paper.  The  latter  species  of  picture  is  at 
present  in  most  general  vogue. 

In  the  waxed-paper  process,  we  saw,  that  bj  means  of 
the  wax,  papers,  already  excited,  might  be  kept  for  some 
time  before  being  placed  in  the  camera,  and  yet  answer 
an  equally  good  purpose  as  if  used  immediately  after 
excitation.  This  property  in  prepared  heliographic  sur- 
faces would  obviously  be  a  great  convenience  for  travel- 
lers and  excursionists,  who  might  desire  to  take  views 
under  circumstances  that  made  it  difficult  or  impossible 
to  sensitise  these  surfaces  at  the  moment. 

As  it  were  equally  desirable  to  impart  the  same  pro- 
perty to  collodion  surfaces,  several  attempts  have  been 
made  to  this  end.  Three  of  these,  which  have  been  suc- 
cessful, I  will  briefly  mention  here : — 

1st.  Messrs.  Spiller  k  Crookes  effected  this  purpose  by 
nitrate  of  magnesia — a  collodion  plate,  sensitised  as 
usual,  being  dipped  in  a  bath,  of  which  that  substance 
forms  one  of  the  ingredients. 

2d.  Shadbolt's  Honey  process,  in  which  a  syrup,  made 
with  pure  honey  and  distilled  water  in  equal  parts,  takes 
the  place  of  the  nitrate  of  magnesia  in  the  above  pro- 
cess. 

3d.  H.  Pollock's  Glycerined  Collodion  process,  where- 
in glycerine,  an  ingredient  of  several  neutral  fats  and 
oils,  subserves  the  purpose  of  nitrate  of  magnesia  and  of 
honey  in  the  two  processes  above  named. 

4th.  Dr.  Taupenot's  Collodio- Albumen  process,  which 
consists  in  first  coating  a  plate  with  collodion  and  excit- 
ing it,  and  then  putting  upon  this  a  coating  of  albumen 
and  exciting  it,  after  which  the  plate  is  ready  for  the 
camera.  This  twofold  coating  serves  the  two  purposes 
of  keeping  the  plates  sensitive  for  a  considerable  time 


406  THE  CAMERA  AND  THE  PENCIL. 

and  of  increasing  the  rapidity  of  their  action.  This  is 
thought  by  some  to  transcend  all  other  processes  in  the 
quality  of  its  results. 

5th.  Grutta  Percha,  as  a  sensitised  medium ;  as  a  sub- 
stitute for  glass,  &c.  It  is  not  settled  whether  the  dis- 
covery of  the  heliographic  capabilities  of  this  substance 
is  due  to  Mr.  Archer  or  Eev.  J.  B.  Eeade. 

It  is  used  in  three  ways : — 1st.  You  coat  a  glass  plate 
with  gutta  percha ;  upon  this  you  put  a  collodion  coating 
and  produce  a  picture  in  the  ordinary  way;  and  the 
gutta  percha  basis  being  then  detached  from  the  glass, 
you  have  a  substitute  for  the  latter,  which  is  as  tough  as 
leather,  while  flexible  and  portable.  2d.  You  may  iodize 
a  sheet  of  gutta  percha,  and  take  pictures  upon  it  without 
using  collodion  at  all.  3d.  You  can  employ  a  mixture 
of  gutta  percha  and  collodion  in  the  same  way.  4:th.  You 
prepare  a  glass  plate  with  collodion,  and  conduct  the 
process  in  the  usual  mode.  The  picture  being  completed, 
you  pour  over  it  the  gutta  percha  solution.  The  latter 
being  cold,  the  united  films  are  separated  from  the  glass 
in  a  single  sheet. 

The  ivorytype  is  an  invention  of  Mr.  Mayall,  of  Eegent 
Street,  London.  These  pictures  are  taken  upon  an  artifi- 
cial ivory,  a  compound  of  barytes  and  vegetable  albumen. 
A  plate,  made  of  this  substance,  is  treated  substantially 
as  you  treat  the  paper  in  producing  the  talbotype,  and 
the  result,  especially  if  touched  up  with  a  skilful  pencil, 
is  a  picture  exhibiting  all  the  delicate  beauties  of  the 
finest  miniature  painting  upon  ivory. 

The  dry  collodion  process  is  commonly  regarded  as 
the  invention  of  Fothergill,  but  has  been  varied  more  or 
less  by  MuUer,  Neville,  Norris,  Mayall,  Powell,  Col.  Pike, 
and  many  others,  so  that  we  shall  not  attempt  to  decide 
whose  process  is  the  best.    Probably  some  may  prefer  one. 


HISTORY  OF  THE  HELIOGRAPHIC  ART. 


407 


and  some  another.  What  is  common  to  most,  is  to  coat 
the  plate  first  thinly  with  albumen,  which  being  dried 
slowly,  a  coating  of  collodion  is  then  put  on,  and  the  plate 
is  treated  in  the  same  manner  as  in  the  wet  process. 
MuUer  varies  the  process  of  the  others,  by  first  collodion - 
izing  and  sensitising  the  plate,  and  then  pouring  on 
a  mixture  of  two  liquids — the  first  composed  of  white 
of  egg,  creosote,  and  distilled  water,  and  the  second  of 
honey,  animal  charcoal,  and  water.  The  advantage  of 
the  ury  collodion  process  is,  that  the  plates  may  be  used 
long  after  being  first  prepared. 

In  concluding  this  chapter  on  the  history  of  the  helio- 
graphic  art,  it  is  thought  that  it  may  prove  of  some 
interest  to  append  the  following  table,  compiled  with 
much  care  for  the  British  Association,  by  Eobert  Hunt, 
and  printed  by  that  body  in  their  Eeports  for  1850.  It 
is  believed  that  the  dates  of  discovery  are  accurately 
given,  the  date  of  publication  being,  of  course,  in  all 
cases,  taken  where  there  was  the  slightest  doubt. 


Silver. 

Nitrate  of 

(photographically  employed) 

with  organic  matter        .        .        .        , 

with  salts  of  lead       .... 

Chloride  of 

(photographically  employed) 

darkened,  and  hydriodic  salts 

Iodide  of  (photographically  used) 

with  ferrocyanate  of  potash   . 

with  gallic  acid  (Calotype) 

with  protosulphate  of  iron  (Ferrotype) 

with  iodide  of  iron  (Catalysotype) 

Bromide  of 

Fluoride  of 

Fluorotype 

Oxide  of 


Hitter 

.     1801 

Wedgwood  and  Da\ 

y     1802 

J.  F.  Herschel  . 

.     1839 

J.  F.  Herschel 

1839 

C.  W.  Scheele   . 

.     1777 

Wedgwood    . 

1802 

Talbot 

.     1839 

Fyfe,  Lassaigne    . 

1839 

Herschel   . 

.     1840 

Ryan     . 

1840 

Hunt 

.     1841 

Talbot  . 

1841 

Hunt 

.     1844 

Woods  . 

1844 

Bayard 

.     1840 

Channing      ,         , 

1842 

Hunt 

.     1844 

Davy     . 

1803 

408 


THE  CAMEEA  AND  THE  PENCIL. 


Silver. 

Oxide  of  with  ammonia  .... 

Phosphate  of 

Tartrate — Urate — Oxalate — Borate,  &c. 

Benzoates  of 

Fortniates  of Do, 

Fulminates  of Do 


TJncertain 
Fyfe 
Herscbel 
Hunt 


Silver  Plate. 
With  vapor  of  iodine  (Daguerreotype)  . 
With  vapor  of  bromine 
With  chlorine  and  iodine 
With  vapor  of  sulphur        .         .        . 
With  vapor  of  phosphorus       .        .        . 


Daguerre 

Goddard 

Claudet 

Niepce 

Niepce 


Gold. 

Chloride  of 


f  Rumford 

I  Herschel 

Ethereal  solution  of Rumford 

Ethereal  solution  of,  with  peroyanide  of  potas- 
sium        Hunt 

Ethereal   solution  of,  with   protocyanide  of 

potassium Do.    . 

Chromate  of    ......         .  Do. 

Plate  of  gold  and  iodine  vapor  .        .        .  Goddard 

Platinum. 

Chloride  of Herschel 

Chloride  of,  in  ether Herschel 

Chloride  of,  with  lime     .....  Herschel 

Iodide  of Herschel 

Bromide  of     . Hunt 

Percyanate  of     .....        .  Do. 


Mercxjrt. 

Protoxide  of  .        .        .        .        .        .  .    Uncertain, 

Peroxide  of  .        .  ...         Guibourt. 

Carbonate  of  .        .        .        .        .        .  .    Hunt 

Chromate  of  .....        .         Do. 

Deutiodide  of  .        .        .        •        .  .    Do.   . 

Nitrate  of  .  .        .        .        .        ...         Herschel 

Protonitrate  of        .....  .     Herschel 

Chloride  of BouUay 

Bichloride  of Vogel 


HISTORY  OF  THE  HELIOGRAPHIC  ART. 


409 


InoN. 

Protosulphate  of. 
Persulphate  of. 
Ammonio-citrate  of. 
Tartrate  of. 
Attention  was  first  called  to  the  very  pecu- 
liar changes  produced  in  the  iron  salts, 

by Sii  John  Herschel  .     1845 

„       .                    ,      ^   ^        .      ^,     ^  f  Schc-ele          .         .  1786 

Cyanic  compounds  of  (Prussian  blue)          .  ■{  ^            ;  ,„,^, 

•'                 ^                 ^                        -"  I  Desmortiers       .  .     1801 

Ferrocyanates  of Fischer          .         .  1795 

Iodide  of Hunt         .         .  .     1844 

Oxalate  of       .        .         .         .        .        .        .  Do.        .        .        .  1844 

Chromate  of Do 1844 

Several  of  the  above  combined  with  mercury  Herschel       .        .  1843 

Copper. 

Chromate  of  (Chromatype)     ....  Hunt         .        .  .     1843 

dissolved  in  ammonia         .         .         .  Do.        .         .        .  1844 

Sulphate  of Do 1844 

Carbonate  of Do.        .         .        .  1844 

Iodide  of Do 1844 

Copper-plate  iodized  .....  Talbot  .         .        .  1841 

Manganese. 

Permanganate  of  potash     ....  Frommherz        .  .     1824 

Deutoxide  and  cyanate  of  potassium      .         .  Hunt     .        .        .  1844 

Muriate  of Do 1844 


Leas. 

Oxide  of  (the  puce-colored)     . 
Red  lead  and  cyanide  of  potassium 
Acetate  of  lead       .... 


Davy 
Hunt 
Do.    . 


1802 
1844 
1844 


Nickel. 

Nitrate  of        .         .         . 
with  ferroprussiates 


Iodide  of 


[■Do. 


1844 


Tin. 
Purple  of  cassius    . 


Cobalt 
Arsenic  sulphuret  of 


Uncertain. 
Hunt 


1844 
1803 


410 


THE  CAMEEA  AND  THE  PENCIL. 


Arsenical  aalis  of         .....       ' 

Aktimony 

BiSUUTB ■     . 

Hunt 

1844 

Cadmium    

Rhodium 

Chkomium. 

Bichromate  of  potash 

Mungo  Ponton  . 

1838 

with  iodide  of  starch 

E.  Becquerel 

1840 

Metallic  chromates  (Chromatype)  . 

Hunt 

1843 

Chlorine  and  Hydrogen     .... 

Gay-Lussac  &  Th6nard 

1809 

Draper 

1842 

and  ether    ...... 

Cahours     . 

1810 

Glass,  maoganese,  reddened     .... 

Faraday    . 

1823 

Cyanogen,  solution  of 

Pelouse  andliichardsor 

1838 

Methyle. 

Cahours     . 

1846 

f  Petit     . 

Crystallization  of  salts  influenced  by  light     .  <  Chaptal 

( Dizg      . 

(  Sehulze 
Phosphorus ■{  ^. 

^  I  Ritter    . 

in  nitrogen Beckman 

Phosphorus  and  ammonia       ....  Vogel    . 

Nitric  acid  decomposed  by  light  .        .  Scheele 

Fat  matter Vogel    . 

Development  of  pores  in  plants  .        .  Labillardiere 

Vitality  of  germs Michellotti 

Resinous  Bodies  {Heliography)    .        .         .         Niepee 

Asphaltum Niepce 

Resin  of  oil  of  lavender    .        .        .         .         Niepce  and  Daguerro 

Guaiacum        .        .        .        .        .        .        .     Wollaston 

Bitumen  all  decomposed     ....         Daguerre  . 

All  residua  of  essential  oils    ....     Daguerre 

Flowers,  colors  of,  expressed,  and  spread  upon 

paper    ......     Herschel   . 

Yellow  wax  bleached  ....         Senebier 

r  Licetas 

I  Kircher 
Phosphorescent  influences  of  solar  rays  .  \  Canton 

j  Biot      . 

[  E.  Becquerel 


Vegetation  in  stagnant  water 

Influence  of  light  on  electrical  phenomena- 


Morren 

E.  Becqtaerel 


1722 
1788 
1789 
1727 
1801 
1800 
ISOfi 
1786 
1806 
1801 
1803 

1814 
1814 
1830 
1803 
1839 
1839 

1842 
1791 
1646 
1646 
1768 
1840 
1839 
1841 
1839 


HISTORY  OF  THE  HELIOGRAPHIC  ART,  411 


CHAPTEE  XXXI. 

THE  HELIOGRAPHIC  ART — ITS  PRESENT  STATE  AND  APPLI- 
ANCES, AND  ITS  FUTURE  POSSIBILITIES. 

The  three  great  modern  discoveries :  1st.  Steam — 2d.  Magnetic  Telegraph — 
3d.  Heliography — All  tend  to  produce  an  improved  human  condition — 
Heliography,  its  direct  effects  :  1st.  A  substitute  for  travel — 2d.  Strengthens 
and  perpetuates  ties  of  kindred  and  friendship — 3d.  Makes  familiar  to  us 
the  great  and  good  of  all  ages  and  countries — 4th.  Serves  as  an  efficient 
means  of  general  culture — 5th.  Is  an  important  help  to  the  knowledge  and 
practice  of  chemistry,  geology,  medical  and  surgical  science,  architecture, 
engineering,  military  operations,  astronomy,  &e. — Journals,  photographic 
and  other,  now  advocate  the  claims  of  photography  to  be  a  fine  art — Sir 
David  Brewster  and  Claudet  favor  this  view — Why  should  not  the  painter 
and  photographer  work  together;  one  with  the  camera,  and  the  other  with 
the  pencil  ? — Quotations  from  various  eminent  modern  writers,  specifying  the 
benefits  flowing  from  art  in  general,  and  the  photographic  art  in  particular. 

The  tradition  of  a  millennium,  to  occur  at  some  stage 
of  the  Christian  History,  has,  for  nearly  nineteen  centu- 
ries, been  floating  through  Christendom.  What,  at  the 
outset,  were  the  material  form  and  literal  sense  of  that 
tradition,  is  too  generally  known  to  need  explanation 
here. 

I  presume,  most  of  my  readers  are  also  aware  that, 
during  the  last  century,  a  spiritual  construction  has  been 
put  upon  the  term  millennium,  whereby  it  is  held  to 
signify  a  rapid  and  vast  improvement  in  the  universal 
condition  of  our  race — its  exaltation  to  a  plane  of  intelli- 
gence, virtue,  and  happiness,  unparalleled  before.  And, 
what  is  somewhat  singular,  these  recent  constructionists 
have  agreed  in  placing  the  dawn  of  this  new  era  at  or 
near  the  present  time.  Thus,  Swedenborg  represents  it 
as  the  "New  Jerusalem  descending  from  heaven  to 
earth ;"  the  event  to  become  distinctly  manifest  (if  I  rightly 


412  THE  CAMERA  AND  THE  PENCIL. 


remember)  between  tbe  years  1850  and  1880 ;  Fourier, 
as  a  series  of  barmonic  pbalanxes  covering  tbe  entire 
globe,  tbe  process  commencing  at  about  the  same  date; 
and  Fatlier  Miller,  under  an  aspect  too  absurd  for  any 
but  a  disturbed  brain  to  accredit. 

But  whether  this  tradition  be  groundless  and  worth- 
less or  the  reverse,  it  is  undeniable  that  our  age,  for  the 
celerity  and  extent  of  the  multiform  improvements  going 
on  in  man's  condition,  stands  alone  in  the  authentic  his- 
tory or  even  the  traditions  of  the  globe.  These  improve- 
ments are  manifestly  due  to  various  scientific  and  practi- 
cal discoveries,  of  which  the  most  important  are : 

1st.  Steam  in  its  several  applications  to  land  and 
water  locomotion,  and  to  numerous  purposes  beside. 

2d.  The  magnetic  telegraph. 

3d.  Heliography  in  its  multitudinous  forms. 

These  three  discoveries,  in  addition  to  all  their  other 
beneficent  results,  alike  serve  to  bring  the  individuals 
of  our  race,  however  widely  dissevered  by  material 
distances,  into  more  or  less  close  proximity  and  com- 
munion with  each  other.  And  if,  as  experience  has 
often  proved,  the  poet  says  truly,  that 

"  Mountains  interposed  make  enemies  of  nations  •" 

experience  also  teaches,  that  the  first  and  most  essential 
step  towards  the  mutual  regard  and  unity  both  of  indi- 
viduals and  communities  is,  that  they  should  know  each 
other  alike  in  their  dispositions  and  sentiments,  and  in 
their  exterior  modes  of  life.  For  the  promotion  of  this 
end,  the  discoveries  in  question  have  a  value  beyond 
calculation. 

My  present  purpose,  however,  is  to  indicate  briefly 
what  heliography  has  done,  is  doing,  and  promises  to  do 
for  the  world's  future ;  and, 


HISTOKY  OF  THE  HELIOGRAPHIC  ART.  413 

1st.  Travelling,  whether  in  foreign  lands  or  our  own, 
is  regarded  as  one  of  the  most  efficient  means  of  self- 
culture  within  our  knowledge.  Comparatively  few,  how- 
ever, are  able  to  leave  home  and  business  and  bear  the 
heavy  expenses  thus  required. 

But  photography  enables  us  to  enjoy  the  pleasure  and 
the  advantages  of  travel  without  even  crossing  our  own 
thresholds.  Sun -pictures  in  abundance  may  be  had  at 
so  cheap  a  rate,  as  to  bring  them  within  reach  of  all  save 
the  literally  penniless.  And  in  these  we  behold  vivid 
and  life-like  presentments  of  all  the  objects  which  would 
most  strongly  attract  the  actual  traveller's  notice  in 
distant  countries  or  our  own.  All  forms  and  diversities 
of  natural  sublimity  and  beauty — the  architecture,  the 
paintings,  and  the  sculptures,  wherewith  Genius,  during 
the  lapse  of  centuries,  has  embellished  the  earliest  civil- 
ized of  modern  lands,  while  eternizing  its  own  memory ; 
the  stupendous  or  magnificent  ruins,  which  still  survive 
to  show  what  the  most  advanced  of  ancient  peoples  could 
achieve ;  the  localities  wherein  events  have  occurred, 
either  of  war  or  of  peace,  which  have  changed  the  des- 
tinies of  nations ;  and  the  inhabitants  of  various  regions 
of  the  globe,  with  their  personal  aspects,  their  usages, 
secular  and  religious,  and  their  modes  of  life,  whether 
private  or  public,  domestic  or  social, — all  these,  and  a 
myriad  objects  besides,  may  be  inspected  in  their  minu- 
test particulars  by  the  day-laborer,  surrounded  by  his 
family  at  his  own  fireside.  And  he  thus  may  often  get 
a  completer  and  truer  impression  of  them,  than  if  stand- 
ing on  the  very  sites  they  occupy. 

2d.  Photography  serves  to  draw  closer,  to  strengthen 
and  to  perpetuate  the  ties  of  kindred,  of  friendship,  and 
of  general  respect  and  regard.  The  exigencies  of  life,  in 
most  cases,  necessitate  the  dispersion  of  relatives,  bore 


414  THE  CAMERA  AND  THE  PENCIL. 


and  reared  under  the  same  roof,  towards  various  points 
of  the  compass,  and  often  to  remote  distances,  and  by 
this  means  the  primal  household  affection  almost  inevi- 
tably becomes  impaired,  and  is  frequently  transformed 
into  comparative  indifferen_ce,  if  not  absolute  coldness. 
How  great  are  the  loss  and  injury  thus  inflicted  on  those 
concerned,  it  were  impossible  to  measure.  For  in  the 
love  of  kindred  is  found  one  of  the  most  potent  preser- 
vatives of  a  life  of  purity,  virtue,  and  honor,  as  also  one 
of  the  most  active  stimulants  to  a  laudable  and  manly 
social  ambition,  A  nation  is  virtuous  and  united  accord- 
ing as  the  households  composing  it  are  well  ordered  and 
bound  together  by  mutual  regard. 

And  the  photographs  of  parents,  brothers,  and  sisters, 
now  within  the  universal  reach,  constitute  the  most 
effectual  means  of  keeping  freshly  alive  the  memories  ot 
the  dear  absentees,  long  associated  with  us  round  the 
same  fireside,  and  of  those  young  days,  when  the  world 
before  us,  under  the  golden  rays  of  imagination  and  hope, 
seemed  to  us  one  vast  realm  of  brightness  and  beauty 
and  gladness.  What,  better  than  such  memories,  can 
preserve  the  freshness  of  feeling  and  tenderness  of  con- 
science proper  to  our  opening  existence  ? 

3d.  Photography  brings  within  the  general  and  daily 
inspection,  the  portraits  of  the  patriots  and  heroes,  the 
saints  and  sages,  and  the  eminent  in  every  sphere  of  life, 
and  of  all  ages  and  countries.  And  the  sight  of  such 
representations  awakens  the  desire  of  learning  the  history 
of  their  originals,  with  their  magnificent  achievements 
and  noble  endurances.  If,  according  to  the  trite  adage, 
"  evil  communications  corrupt  good  manners,"  good  com- 
munications must  work  reverse  effects.  To  breathe 
habitually  an  atmosphere  of  high  principles  and  thoughts 
and  sentiments,  is  to  be  moulded  into  the  same  image 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  415 

and  practical  character,  even  as  the  respiring  of  a  pure 
and  bracing  air  is  to  secure  physical  health  and  sound- 
ness and  vigor.     But, 

4th.  Photography  serves  as  a  most  efficient  means  of 
general  culture.  In  the  numerous  pictures  which  the 
art  has  sown  broadcast  through  all  civilized  communities, 
those  of  all  ages  and  conditions  daily  behold  objects,  that 
appeal  to  and  awaken  to  activity  the  inborn  sense  of 
beauty  and  grace ;  that  provoke  to  comparison  between 
the  good  and  the  bad,  and  between  the  bad  and  the 
worse ;  and  that  gradually  thus  form,  in  even  the 
lowliest,  somewhat  of  an  artistic  judgment.  But  such 
judgment,  first  reared  upon,  and  by  means  of,  artificial 
representations,  naturally  finds  a  sphere  for  its  exercise 
in  the  limitless  domain  of  beauty  opened  to  it  in  the 
material  universe ;  in  the  varieties  of  imitative  beauty 
created  by  man,  and  in  man  himself.  How  elevating 
and  great  is  the  influence  of  such  a  mental  action  on  the 
character,  both  intellectual  and  moral,  we  have  indicated 
elsewhere. 

But  the  judgment,  educated  to  the  sense  of  the  beauti- 
ful, cannot  restrict  itself  to  this  single  department  of 
nature  and  life.  It  measurably  extends  to  all  other 
spheres  as  well,  and  thus  a  process  of  general  culture  is 
originated  and  carried  forward,  by  means  so  simple  as 
sun-stricken  impressions  on  plate,  or  paper,  or  glass, 
numbers  of  which  are  daily  gazed  on  by  the  newsboy, 
and  even  the  child-beggar,  at  photographic  doors  in 
almost  every  street. 

A  multiplicity  of  other  and  miscellaneous  uses  is  sub- 
served by  the  photograph,  a  few  of  which  I  will  now 
briefly  mention.  The  Eev.  Mr.  Statbam,  to  whom  I  am 
indebted  for  several  facts  in  this  chapter,  remarks,  that 


416  THE  CAMEEA  AND  THE  PENCIL. 


photography  may,  among  other  things,  be  called  the 
"handmaid  of  the  sciences,"     For  example,  it  has 

1st.  Eendered  important  aid  to  chemistry.  The  mere 
fact  of  its  being  based  on  this  science  has,  of  necessity, 
multiplied  students  of  the  same  to  the  number  of  the 
thousands  interested  in  photography,  either  as  profes^ 
sionists  or  amateurs.  Moreover,  by  causing  a  large 
increase  in  the  number  of  existing  chemicals  to  be 
employed  in  the  art,  it  has  brought  to  light  not  a  few 
entirely  new  combinations  of  matter — enough  indeed  to 
constitute  a  laboratory  of  its  own.  It  also  serves  to 
train  in  the  young  chemist,  several  qualities  of  great 
utility  in  chemical  experimentation,  e.  g.  patience,  manipu- 
lative cleanliness,  self-reliance,  and  an  adventurous  spirit 
of  research — all  of  which  are  essential  to  success  in 
photographic  operations,  and  which  he  acquires  in  their 
performance.  After  all,  however,  the  uses  of  photogra- 
phy to  chemistry  are,  comparatively,  but  beginning  to 
be  known. 

2d.  Geologic  inquiry  is  essentially  furthered  by  our 
art.  A  distinguished  English  writer  aply  entitles  the 
professors  of  this  grand  science  the  "Anatomists  of 
Nature.''''  The  bulk  of  its  students  are  forbidden,  by  the 
nature  of  the  case,  to  read,  in  the  original,  that  "testi- 
mony of  the  rocks,"  wherewith  nature  has  registered' 
earth's  long  past  history,  but  must  needs  rely  on  such 
copies  of  the  same,  as  its  few  privileged  readers  can  sup- 
ply. And  when  we  consider  how  slow  and  toilsome  is 
the  task  of  reproducing,  by  hand,  geologic  specimens 
and  views,  and  how  unavoidably  inexact  and  inadequate 
such  representations  must  be,  how  indescribably  great 
must  appear  our  obligations  to  that  art  which,  within  a 
few  seconds,  or  it  may  be  instantaneously,  grants  us  a 
fac  simile  of  the  scenes  and  objects  desired,  so  absolutely 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  417 

perfect,  that  even  under  the  microscopic  lens,  the  origi- 
nal has  scarce  an  iota  of  advantage  over  the  transcript  I 
But, 

3d.  Medical  and  surgical  science  is  greatly  advantaged 
by  sun-painting.  Exact  copies  of  the  aspects  of  morbid 
anatomy  in  general ;  of  disease  in  every  varying  shape, 
and  of  the  appearances  of  each  several  malady,  at  its 
different  stages,  must  be  of  incalculable  service  alike  to 
practising  physicians  and  to  medical  students.  Both 
derive  therefrom  the  same  benefit  (or  nearly  such),  as 
they  would  from  inspecting  the  patient  in  person;  and 
one  immeasurably  greater  than  he  could  from  reading 
verbal  descriptions,  even  the  minutest,  of  what,  after  all, 
it  is  impossible  fully  to  describe.  For  the  photographic 
presentment,  unlike  the  verbal,  may  be  microscopically 
examined.  To  the  leading  European  hospitals  are  al- 
ready attached  skilled  draughtsmen  and  modellers  in 
wax,  to  copy  from  the  living  patient,  or  the  dissected 
corpse,  any  appearance  throwing  light  on  the  origin  or 
progress  of  the  malady,  which  may  aid  in  after  practice. 
Of  how  much  greater  value  would  be  an  accomplished 
sun-painter  in  this  office !  Medical  consultations,  too, 
can  easily  and  profitably  be  held  with  distant  physicians, 
through  photographic  representations  sent  them,  and 
this  without  their  stirring  from  home  or  the  vicinity  of 
their  own  patients. 

4th.  The  progress  of  architectural  improvement  is 
secured  by  our  art.  The  professionist  and  student,  of 
'"scantiest  means,  may  possess,  for  models  and  for  helpers 
in  artistic  discipline,  exactest  transcripts  of  the  noblest 
edifices  and  other  architectural  constructions  in  present 
occupancy,  in  every  known  region  on  earth,  and  of  the 
reliques  of  the  finest  ancient  achievements  in  this  art, 
which  have  immortalized  the  localities  that  hold  the  dust 
27 


418  THE  CAMERA  AND  THE  PENCIL. 

of  long-buried  nations,  and  whicTi  have  to  a  considerable 
extent  survived  the  assaults  of  over  four  thousand  years. 

For  example,  the  pyramids,  the  catacombs,  and  the 
labyrinths  of  Egypt ;  the  rock-temples  of  India,  Nubia, 
and  Petra ;  the  weird  and  wondrous  Babylonian  remains ; 
the  matchless  ruins  which  Grreek  genius  left,  as  its 
memorials  in  both  the  Grecian  and  Italian  peninsulas, — 
all  these  are  at  their  service  in  pictures  so  exact,  as 
virtually  to  answer  every  purpose  of  their  originals, 
when  viewed  on  the  sites  they  occupy. 

The  same  remarks  apply  to  photographic  transcripts 
of  natural  scenery,  in  the  shapes  of  mountain  and  glen 
and  expanded  plain,  and  of  river  and  lake  and  ocean, 
which  travellers,  seeking  the  gratification  of  curiosity  in 
all  quarters  of  the  globe,  have  agreed  to  place  at  the 
highest  point  of  material  grandeur  and  sublimity,  or 
loveliness;  and  of  the  localities  in  different  lands,  which 
have  been  glorified  in  the  world's  memory,  by  the 
momentous  and  critical  events,  whether  of  war  or  peace, 
that  occurred  therein,  alike  in  the  early  twilight  of 
human  tradition,  or  within  the  scope  of  authentic  history. 

It  is  an  opinion  of  the  writer  to  whom  we  are  so 
greatly  obliged  in  this  chapter,  that  a  contem.plation  of 
the  fine  sketches,  recently  brought  by  our  art  within  the 
universal  inspection,  has  wrought  the  considerable  im- 
provement manifest  in  our  contemporary  architecture— 
an  improvement  visible  alike  in  our  public  and  private 
constructions. 

One  very  important  advantage  conferred  by  the  sun- 
picture,  is  that  an  eminent  architect  can  supervise,  at  the 
same  time,  from  a  half  dozen  to  one  hundred  works,  of 
whatever  class,  during  their  progress  from  commence- 
ment to  completion,  without  the  necessity  of  being  at  the 
localities  they  occupy.     This  is  effected  simply  by  help 


HISTORY  OF  THE  HELTOGRAPHIC  ART.  419 


of  skilfully  executed  sketches  of  them,  in  whole  or  in 
part,  at  successive  stages  of  their  advancement. 

Thus  Colonel  Bowman,  the  accomplished  head  of  West 
Point  Military  Academy,  is  reported  to  have  at  one  time 
superintended  and  directed,  as  he  had  primarily  laid  out, 
the  plans  of  one  hundred  of  the  United  States  public 
works  by  the  aid  of  these  pictures,  which  subserved  the 
same  end  as  the  inspection  of  their  originals  would  have 
done, 

5th.  It  has  become  a  custom  of  manufacturers  to 
advertise  machinery,  mortuary  monuments,  and  a  multi- 
tude of  articles  beside,  by  forwarding  to  all  sections  of 
the  country  and  (I  believe)  to  foreign  lands,  sun-stamped 
copies  of  the  same,  alike  in  their  wholes  and  in  their 
several  parts.  While  the  manufacturers  and  the  persons, 
at  what  distance  soever  living,  who  are  likely  to  need 
their  wares,  are  thus  essentially  convenienced,  the  public 
are  instructed  where  to  apply  for  any  articles  which  such 
manufacturers,  from  the  nature  of  their  vocations,  are 
probably  able  to  furnish.  It  is  obvious  at  a  moment's 
thought,  that,  by  this  means,  all  parties  concerned  may 
save  a  vast  amount  of  time,  trouble,  and  expense. 

6th.  Civil  engineering,  mining  works,  and  all  military- 
operations  may  profit  largely  from  photography.  The 
reader  may  see  tuhy  and  hoio,  without  our  specifying 
particulars.  In  the  construction  of  the  Grand  Trunk 
Railway  of  Canada,  it  is  said  the  chief  engineers  of  Great 
Britain  were  able  to  supervise  the  work,  virtually  m 
person,  without  leaving  their  homes. 

In  war  the  camera  is  variously  useful  in  taking  views 
of  fortifications,  or  other  places,  to  be  attacked,  and  in 
exhibiting  the  effects  of  cannon-fire  upon  breaches ;  in 
giving  correct  representations  of  the  difficulties  of  any 
route  to  be  traversed  by  troops ;  or  in  getting  from  a 


420  THE  CAMERA  AND  THE  PEXCIL. 

balloon  a  view  of  tlie  enemy's  forces,  and  of  the  mode  in 
which  they  are  stationed,  whereby  their  probable  move- 
ments can  be  conjectured. 

It  was  recently  stated,  in  a  Eichmond  rebel  journal,  that 
General  Grilmore,  the  present  commander-in-chief  of  the 
United  States  troops  before  Charleston,  experimented  in 
cannon-firing  at  a  target  for  three  years  or  more,  photo- 
graphing each  time  the  spot  struck  by  the  ball ;  and  that 
it  was  through  this  practice  he  became,  what  that  journal 
pronounces,  the  first  military  engineer  now  living.  Whe- 
ther this  account  be  true  or  false,  I  know  not,  as,  accord- 
ing to  the  adage,  "a.  liar  cannot  be  credited  when  he 
speaks  the  truth."  In  the  nature  of  the  case,  however, 
it  might  be  true,  and  it  serves  to  verify  the  proposition 
we  are  now  discussing.  The  general's  recent  feat  of 
throwing  a  shell,  charged  with  Greek  ^re,Jiv€  miles  into 
the  pestilent  city  where  the  rebellion  was  conceived  and 
came  into  life,  and  where  the  first  decisive  insurrectionary 
crime  was  perpetrated,  is  a  further  corroboration  of  what 
we  have  suggested,  and  is  an  ample  fulfilment  of  what 
the  hero  had  promised  to  perform. 

Would  it  not,  then,  be  a  most  useful  arrangement  to 
have  a  skilful  photographic  teacher  attached  to  every 
military  school,  as  also  to  every  institution  where  engi- 
neering, surveying,  architecture,  and  all  other  applica- 
tions of  the  sciences  to  the  arts  are  studied?  For  our- 
selves we  have  no  doubt  of  this.  ISTor  of  this  alone.  For 
we  would  have  the  same  official  introduced  into  every 
college  and  higher  academy  throughout  the  land. 

7th.  Public  order  seems  likely  to  be,  in  some  measure, 
secured  by  the  custom  lately  adopted,  of  taking  photo- 
graphic likenesses  of  all  criminals  sentenced,  after  trial, 
to  some  term  of  incarceration.  Such  persons,  on  the  expi- 
ration of  their  allotted  periods,  will  find  it  not  easy  to 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  421 


renew  their  criminal  careers,  while  their  faces  and  general 
aspects  are  familiar  to  so  many,  especially  to  the  keen- 
sighted  detective  police.  There  would  seem  to  be  at 
least  a  possibility,  if  not  a  likelihood,  that  old  infractors  of 
law  may  be  absolutely  driven  out  of  the  "  broad  road 
leading  to  destruction,"  into  the  '''strait  and  narrow  way," 
wherein  alone  is  found  safety,  as  well  as  freedom,  by  the 
almost  inevitable  certainty  that,  in  the  former,  he  must 
speedily  be  re-arrested  and  doomed  to  a  more  protracted 
imprisonment. 

10th.  It  is  familiarly  known  that  the  sun  and  the 
moon  have  already  been  transcribed,  by  means  of  the 
camera,  with  literal  exactitude.  In  the  further  large 
improvements  certain  to  be  made  in  our  present  photo- 
graphic materials  and  processes,  who  shall  measure  the 
additions  which  may  thus  be  furnished  to  our  existing 
knowledge  of  the  magnificent  science  of  astronomy,  by 
the  camera  in  the  handling  of  a  skilled  and  enthusiastic 
photographic  genius  ? 

And  here  the  reader  will  not  merely  excuse  bat  thank 
me  for  introducing  the  following  admirable  extract  from 
an  unpublished  lecture  of  Professor  John  S.  Hart,  on 
"  The  Progress  of  the  Age"  : — 

"  What  would  an  ancient  Greek  have  thought  to  see  a 
puny  mortal,  more  daring  than  Prometheus,  making  even 
the  thunderbolts  of  Jupiter  his  toy?  And  what  would 
even  Franklin  have  thought  to  see  the  subtlest,  fleetest, 
and  most  powerful  of  nature's  agents,  not  only  stripped 
of  its  terrors,  but  made  the  submissive  thrall,  the  obedient 
slave  of  man ;  doing  his  behests,  running  his  errands, 
now  gilding  a  child's  toy,  and  now  carrying  a  message 
to  Congress,  and  exhausting  in  its  flight  even  the  lan- 
guage of  metaphor,  '  as  swift  as  lightning,'  it  being  no 
longer    a    comparison,    now    that    lightning    itself  has 


422  THE  CAMEEA  AND  THE  PENCIL. 

become  the  agent  of  communication.  But  if  Jupiter 
would  liave  been  astonished  at  the  wonders  of  the  tele- 
graph, what  would  the  sun-god  have  said  to  the  not 
inferior  wonders  of  the  heliographic  art  ?  Apollo,  indeed, 
knew  himself  of  old  to  be  the  patron  of  painting ;  but 
did  he  ever  dream  that  he  would  himself  become  the 
limner  of  half  the  human  race  ?  That  those  imponder- 
able rays  of  his  should,  at  man's  pleasure,  be  gathered 
into  a  brush  of  light,  of  inimitable  truth  and  delicacy, 
wherewith  to  trace,  with  microscopic  exactness,  the  linea- 
ments of  the  human  face?" 

They  who  have  glanced  even  cursorily  over  this 
volume, — which,  by  the  by,  was  commenced  and  carried 
a  considerable  way  onward  ten  years  ago, — may  perhaps 
remember  that,  from  the  very  outset  to  the  close,  we 
have  advocated  and  in  all  modes  striven  to  establish  the 
claim  of  photography  to  a  rank  among  the  so-named 
Fine  Arts.  For  a  long  time  we  stood  on  this  ground 
alone,  or  nearly  so. 

By  slow  degrees,  however,  the  heliographic  and  some 
other  journals,  on  both  sides  the  water,  began  to  exhibit 
evidence  that  this  opinion  was  gaining  currency,  till  at 
present  it  would  seem  to  be,  substantially,  the  prevailing 
faith.  For  men,  holding  the  most  eminent  positions  in 
science  and  literature,  have,  in  publications  of  the  highest 
repute,  expressed  this  view  in  the  strongest  and  most 
unqualified  phraseology  they  could  command. 

Thus,  in  the  North  British  Eeview,  of  February,  1862, 
Sir  David  Brewster,  the  scientific  luminary  of  Scotland, 
has  a  long  essa}'"  on  the  heliographic  art,  wherein,  among 
other  kindred  passages,  may  be  seen  the  following : — 

"  Nearly  fifteen  years  have  elapsed  since  we  directed 
the  attention  of  our  readers  to  the  new  art  of  photogra- 
phy, its  brief  history,  wondrous  progress,  &c.    Since  that 


niSTORY  OF  THE  HELIOGRAFHIC  ART.  423 


time,  its  advance  has  been  rapid  beyond  the  most  san- 
guine anticipations  of  its  patrons.  New  materials  and 
processes,  and  numberless  applications  to  almost  every 
department  of  knowledge  have  illustrated  its  history,  and 
raised  it  (perhaps  before  its  time)  to  the  high  position  of  one 
of  the  Fine  Arts.  One  step  only  is  required  to  achieve 
so  lofty  a  place.  The  sun-painter  has  yet  to  arrest  the 
colors  of  nature  and  fix  them  upon  his  tablet ;  nor  have 
we  any  doubt,  that  photography  with  color  is  a  possible 
result  of  scientific  research. 

"Among  the  numerous  applications  of  photography, 
its  application  to  the  arts  of  design  has  been  so  successful, 
that  it  has  been  regarded  by  its  most  ardent  cultivators 
as  one  of  the  Fine  Arts. 

"  That  it  is  entirely  a  mechanical  art  [though  it  is  such 
with  many  of  its  practitioners),  we  cannot  admit.  That  it 
is  entitled  to  precisely  the  same  rank  as  painting  and 
sculpture,  we  will  not  maintain ;  but  we  think  it  will  be 
fully  entitled  to  rank  ahove  engraving,  when  its  processes 
have  become  more  sensitive,  and  its  instruments  and 
methods  of  working  more  perfect. 

"The  want  of  absolute  truth  manifest  in  the  finest 
portraits,  is  thought  to  be  compensated  by  an  ideal 
beauty,  which,  if  not  perpetuating  the  sitter's  happiest 
expression,  at  least  suppresses  the  main  defects  in  his 
features.  Youth  is  given  to  age;  to  the  pallid  cheek 
color ;  brightness  to  the  ordinary  eye ;  and  new  and 
fashionable  drapery  to  complete  the  picture. 

"The  heliographer  has  none  of  these  advantages  in 
his  favor.  His  work  may,  and  often  does  disfigure,  but 
it  nevev  flatters  the  human  countenance.  If,  however,  an 
instantaneous  process  is  employed,  and  a  minute  portrait 
is  taken  with  a  small  lens,  or  with  a  large  one  at  a  remote 
distance,  and  is  subsequently  enlarged  to  life-size,  we 


424         THE  CAMERA  AXD  THE  PENCIL. 

shall  have  absolute  truth  in  the  portrait.  And  who  would 
not  prefer  an  absolutely  true  portrait  of  Demosthenes  or 
Cicero,  of  Paul  or  Luther,  of  Milton  or  of  Newton,  to 
the  finest  representations  of  them  which  time  may  have 
spared?" 

Thus  far  the  Scottish  savant.  The  reader  will  per- 
ceive, that  he  goes  nearly  the  whole  length  of  corrobora- 
ting our  views  of  the  rank  of  heliography.  And  there 
can  be  little  doubt  that,  when  so  short  a  distance  remains 
between  the  goal  and  his  present  position,  he  will  not 
long  delay  in  traversing  that  distance. 

I  will  now  introduce  a  few  paragraphs,  of  kindred 
purport,  from  Claudet,  a  distinguished  practical  heliogra- 
pher,  of  London. 

"  Should  photography  fail  of  progressing  beyond  its 
present  stage,  it  is  even  now  a  most  valuable  auxiliary 
to  the  artist  as  an  agent,  in  whose  hands  its  application 
requires  discrimination  and  taste. 

"Photography  is  an  art  in  which  only  genius  and 
talent  can  attain  a  high  position.  There  is  neither  pleasure 
nor  merit  in  doing  what  costs  neither  trouble  nor  talent. 
In  the  immense  number  of  photographs  exhibited  during 
the  five  last  years,  how  very  few  were  there  of  really  fine 
pictures  I 

"  Photography  would  increase  the  taste  for  art-produc- 
tions, and  reciprocally  art-productions  would  increase  a 
taste  for  photography. 

"  Photography  is  the  imitator  of  nature, — the  drawing 
is  perfect  and  the  perspective  correct.  Photography  is 
to  the  fine  arts  what  logarithms  are  to  mathematics ;  by 
it  work  is  more  easily  and  rapidly  accomplished.  To 
the  artist  it  is  a  vocabulary,  which  guides  him,  as  the 
hand-book  of  nature. 

"Why  has  photography  been  invented?     Simply  for 


HISTORY  OF  THE  HELIO  GRAPHIC  ART.  425 

this.  Scientific  men  long  since  tried  to  learn  the  action  of 
light  on  certain  chemical  agents,  merely  as  a  philosophic 
inquiry.  Such  inquiries,  however,  proving  that  light 
caused  changes  in  such  substances,  a  desire  was  awakened 
in  artists,  that  the  images  of  nature  represented  in  the 
camera  obscura  should  be  fixed. 

"  Wedgwood  was  one  of  the  earliest  to  enter  this  field, 
but,  though  he  obtained  photographic  pictures,  he  could 
not  so  fix  them  as  to  protect  them  against  the  further 
action  of  light.  Hence,  they  had  to  be  kept  in  the  dark, 
and  could  be  viewed  only  by  a  feeble  light. 

"M.  Niepce  having  learned  that  certain  bituminous 
substances  were  rendered  insoluble  by  light,  based  on 
this  discovery  a  process  then  well  known,  though  too 
slow  to  admit  of  its  general  application.  At  this  stage, 
Daguerre  and  Talbot  brought  forward  their  experiments, 
without  concert  or  a  knowledge  of  each  other,  or  of  their 
common  experiments.  Both  had  found  substances  sensi- 
tive to  light,  but  not  sufficiently  so  to  bring  out  a  picture 
by  ordinary  exposure  to  its  action." 

They  argued  thus: — "If  the  light  of  the  camera  has 
not  been  intense  enough  to  produce  an  intense  impression, 
the  sensitive  surface  must  yet  have  received  a  light, 
capable  of  being  completed  by  other  chemical  re-agents. 
Both  ultimately  succeeded  in  developing  a  latent  picture ;  ^ 
one  by  the  fumes  of  mercury,  and  the  other  by  a  gallic 
acid  solution. 

"  As  photography  has  been  invented,  because  needed 
by  the  fine  arts,  was  it  not  absurd  to  suppose  these  arts 
could  be  injured  by  it?  A  photographer  of  taste,  judg- 
ment, and  feeling,  though  not  a  painter,  might  yet  be 
competent  to  yose  a  model,  so  as  to  give  the  greatest 
grace  to  a  picture, — while  a  painter  could  not  fail  to  find 
among  the  productions  of  such  many  excellent  models 


426  THE  CAMERA.  AND  THE  PENCIL. 


for  study,  as  photograpliers  daily  pose  numerous  subjects, 
while  the  painter  arranges  only  what  he  can  paint."  So 
writes  Claudet. 

And  herQ  we  must  express  our  wonder,  that  one  so 
acute  as  Claudet,  after  going  so  far,  did  not  advance  one 
step  further,  and  suggest  what  we  have  long  believed 
would  occur  in  the  not  distant  future :  i.  e.  a  union  of  the 
pencil  and  the  camera  in  the  production  of  portraits. 
The  one  only  point,  wherein  the  sun-painting  falls  below 
(or  is  liable  to  fall  below)  the  pencil-painting  is,  that  he 
who  operates  with  the  camera,  being  restricted  to  a 
single  sitting,  of  a  few  seconds'  duration,  may  fail  to 
catch,  in  those  seconds,  the  sitter's  best  and  most  indivi- 
dualizing expression ;  while  the  wielder  of  the  pencil, 
who  may  have  sittings  ad  libitum,  may  behold  his  subject 
in  all  various  moods,  and  among  these  may  detect  and 
transfer  to  his  canvas  the  very  expression  desired. 

Now  it  is  by  lights  and  shadows  added  to  colors,  that 
expression  is  represented;  and  frequently  a  few  minutes 
onlv  are  required  for  the  painter  to  put  into  the  picture 
this  absolute  essential  to  a  veritable  portrait.  The  most 
protracted  and  laborious  portion  of  his  task,  is  what 
precedes  even  the  attempt  to  secure  the  expression ;  i.  e. 
the  taking  of  the  contoiir  and  ensemble  of  the  head,  the 
face,  the  form,  the  drapery,  &c.  And  yet  by  no  genius 
nor  skill  can  be  produced  with  the  pencil,  so  exact  a 
transcript  of  the  original  in  these  particulars,  as  can  the 
artist-genius  with  the  camera. 

Why,  then,  should  not  the  painter  be  also  a  practical 
photographer,  and  with  the  camera  perform  in  a  few 
seconds  all  this  preliminary  work,  which,  with  the 
pencil,  would  cost  him  days,  and  must,  after  all,  be 
inferior  to  the  work  produced  by  the  sunbeam  ?  And 
these  preparative  operations  being  executed,  and  this  in 


HISTORY  OF  THE  HELIOGBAPHIC  ART.  427 

a  manner  absolutely  perfect,  let  him  tlien,  witli  the  pencil 
dipped  in  colors,  perform  what  remains  towards  com- 
pleting the  representation  of  the  expression,  which  he 
has  awaited  the  proper  moment  to  discern  and  to  catch  ? 
Or  why  at  least  should  not  the  painter  and  photographer 
work  together — one  with  the  camera  and  the  other  with 
the  pencil ;  both  possessing  kindred  artistic  genius? 

So  obvious  geems  to  us  all  this,  that  we  cannot  account 
for  the  neglect  to  adopt,  long  since,  the  method  here  pro- 
posed. Possibly  one  reason  may  be,  the  obstinate  and 
absurd  prejudice  prevailing  against  heliography,  as  (in 
vulgar  parlance)  a  mere  mechanical  process,  coupled  also 
with  the  flocking  into  the  profession  of  numbers  totally 
unlit  for  its  requirements  both  in  organization  and 
education. 

But  such  a  prejudice  cannot  much  longer  exist,  while 
so  many  of  the  leading  scientific  men  of  the  day  are 
boldly  and  emphatically  vindicating  for  sun-painting  a 
rank  among  the  Fine  Arts.  And  we  believe,  and  long 
have  believed,  that  the  time  is  not  far  off,  when  the  union 
of  the  camera  with  the  pencil  will  be  formally  consum- 
mated to  the  exaltation  of  both,  alike  in  fact  and  in 
general  repute. 

How  near  Sir  David  Brewster  came  towards  suggesting 
this  very  movement,  will  appear  from  a  paragraph, 
which  we  take  from  the  essay  of  his  before  quoted,  and 
which  is  as  follows : — 

"Is  it  not  possible  to  make  the  absolute  truth  in  photo- 
graphic portraiture,  when  attained,  as  ijleasing  also  as  we 
could  desire  ? 

"When  Chantrey,  in  conversation  with  Sir  Walter 
Scott,  saw  and  transferred  to  his  marble  that  happy 
expression,  which  characterizes  the  baronet's  bust,  might 


428  THE  CAMERA  AND  THE  PENCIL. 

not  the  same  expression  have  been  still  more  accurately 
taken  by  a  camera  concealed  behind  the  sculptor  ? 

"  Why,  then,  should  not  the  painter's  studio  be  so 
constructed,  that  the  portrait  of  a  lady  or  gentleman  may 
be  taken,  unknown  to  them,  by  the  camera,  while  they, 
in  conversation  with  the  artist,  or  with  their  friends, 
have  unconsciously  assumed  their  best  posture  and  hap- 
piest expression  ?" 

It  will  here  be  seen,  that  Sir  David  accepts  the  sub- 
stance of  our  suggestion,  while,  in  form,  he  so  far  differs 
from  us  in  dividing  the  work  between  tivo  persons,  while 
we  would  unite  its  two  portions  in  a  single  operant* 
Time  alone,  we  think,  and  not  a  long  time  either,  will 
be  required  to  bring  him  on  to  the  same  platform  we  at 
present  occupy. 

It  will  not  be  irrelevant  to  the  general  strain  of  this 
chapter,  if,  in  closing,  I  cite  a  few  passages  from  some 
of  our  most  eminent  modern  writers,  as  having  both  an 
intrinsic  and  an  illustrative  value. 

It  is  remarked  by  Opie,  the  painter,  that  "  the  progress 
of  the  arts  and  sciences  is  the  exact  criterion  of  cultivation 
among  nations ;"  and  Sir  Joshua  Eeynolds  says,  "  That 
a  relish  for  the  excellencies  of  refined  art,  is  attained 
only  by  cultivation  of  taste,  or  improvement  of  mind,  or 
whatever  relates  to  it." 

The  following  paragraphs  are  from  an  excellent  Eng- 
lish writer : — 

"Art  affects  national  prosperity,  intellectual  culture, 
and  material  and  social  happiness ;  art  show«  us  man,  as 
he  can  by  no  other  means  be  made  known ;  gives  us 
nobler  loves  and  nobler  cares,  and  furaishes  objects  by 
the  contemplation  of  which  we  are  taught  and  exalted — 
and  every  department  of  art,  whether  practised  by  the 
painter  or  sculptor,  the  engraver,  architect,  and  engineer 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  429 

must,  from  its  association  with  photography,  gain  rather 
than  lose. 

"  The  first  useful  application  of  painting  was,  probably, 
as  an  intelligent  mode  of  conveying  information.  Indeed 
in  Ancient  Egypt  the  same  hieroglyphic,  and  in  Ancient 
Greece  the  same  word,  signified  writing  and  painting. 

"  Keligion  gave  birth  to  the  arts.  It  was  to  ornament 
temples  and  sacred  precincts,  that  sculpture  and  painting 
were  first  introduced ;  and  in  the  most  ancient  monu- 
ments of  India  and  Egypt,  as  in  those  of  the  Middle 
Ages,  architecture,  sculpture,  and  painting  are  the  mate- 
rial expressions  of  religious  thoughts. 

"Among  all  nations  of  remotest  antiquity  colors  had 
the  same  significance.  This  conformity  indicates  a  com- 
mon origin,  which  extends  to  the  earliest  state  of  human- 
ity, and  develops  its  highest  energies  in  the  religion  of 
Persia,  in  which  the  dualism  of  light  and  darkness, 
personified  in  Ormuzd  and  Ahriman,  presents,  in  effect, 
the  two  types  of  colors,  which  become  symbolic  of  the 
two  principles  of  benevolence  and  malevolence,  as  recog- 
nised under  every  form  of  religion. 

"The  symbolic  language  of  colors,  intimately  con- 
nected with  religion,  passed  into  India,  China,  Egypt, 
Eome,  and  Grreece,  and  reappeared  in  the  Middle  Ages. 
These  indications  of  color  have  an  important  significance 
in  the  Scriptures ;  in  mythology,  heraldry,  architecture, 
&c.,  explaining  much  of  the  origin  and  analogy  of  lan- 
guages and  customs.  They  tend  to  elucidate  the  apparent 
obscurity  of  the  Sabean  or  Mithriac  worship  {%.  e.  the 
adoration  of  the  heavenly  bodies) ;  of  Egyptian  and 
Chinese  hieroglyphics;  of  the  Orphic  and  Eleusinian 
mysteries ;  and  of  ancient  and  modern  art ;  symbols 
reaching  down  even  to  our  own  days,  and  connecting 
(like  the  color  of  the  North  American  Indians)  the  past 


430^         THE  CAMERA  AND  THE  PENCIL. 

d,nd  the  present,  t"he  old  world  and  the  new,  and  the 
Indian  with  the  progenitor  of  mankind,  Adam  signifying, 
literally,  'Eed  Earth,'  or  the  Eed  Man. 

"The  covenant  between  God  and  man  recorded  in 
Genesis, — the  visible  token,  that  God,  all-merciful,  had 
accepted  Noah's  offering,  was  ratified  by  colors ;  and  the 
rainbow,  the  symbol  of  safety  for  all  aftertimes  from  a 
second  general  deluge,  and  typified  in  mythology  by 
Iris,  the  messenger  of  the  gods  and  of  good  tidings,  has 
become  symbolic  of  regeneration,  which  is  the  covenant 
of  God  with  man. 

"The  name  '  Shem,' (which  signifies  'splendor,')  was 
given  to  the  progenitor  of  the  Asiatic  or  Eed  Eaces, 
every  one  of  which  (according  to  Euskin)  possesses,  by 
simple  instinct,  a  supremacy  over  color,  which  no  race 
beside  has  even  approached,  and  possesses  it  despite  the 
overthrow  of  their  dominion,  the  extinction  of  their 
virtue,  and  the  defilement  of  their  religion, — while  to 
Japhet  (a  name  denoting  '  extension')  were  assigned  the 
treasures  of  the  sullen  rock,  and  stubborn  ore,  and 
gnarled  forest,  whereby  they  were  to  achieve  their  destiny, 
as  they  spread,  to  a  greater  or  less  extent,  over  the  vast 
lands  and  still  vaster  waters  which  together  constitute 
our  globe.  Meanwhile  Nature  matured,  in  the  sand,  the 
brilliant  gem,  and,  in  the  shell,  the  precious  pearl,  which 
were  the  heritage  of  him,  whose  name  was  '  splendor.' " 

Euskin,  the  most  eminent,  perhaps,  of  contemporary 
art-critics,  remarks:  "No  law  within  my  knowledge,  is 
more  severely  without  exception,  than  this  of  the  con- 
nection of  pure  color  with  profound  and  noble  thought. 
The  fact  is,  that  of  all  God's  gifts  to  the  sight  of  man, 
color  is  the  holiest,  the  most  divine,  the  most  solemn." 

To  such  as  may  have  looked  carefully  over  the  fore- 
going citations  and  comments,  I  would  put  this  question : 


HISTORY  OF  THE  HELIOGRAPHIC  ART.  431 

"  Can  it  be,  that  an  art,  which  by  the  most  cursory 
examination  is  shown  to  have  an  infinity  of  uses,  many 
among  them  of  the  highest  and  noblest  quality  and  of 
inestimable  moment,  which  renders  to  most,  if  not  all  of 
the  sciences  addressing  the  eye,  as  also  to  multitudes  of 
the  practical  arts,  both  the  useful  and  the  ornamental, 
such  efiicient  aids  as  raise  them  to  a  height  otherwise 
wholly  unattainable, — can  such  an  art  be  a  baldly  me- 
chanical one,  capable  of  being  rightly  applied  by  one 
devoid  alike  of  genius  and  education;  an  art,  which 
must  be  shut  out  from  the  pale  of  the  fine  arts,  although 
furnishing  to  each  of  those  arts  appliances  and  means, 
that  promise  to  make  of  them  pursuits  more  elevated  and 
ofier  more  various  utility,  than  hitherto  they  have  even 
begun  to  be  ?" 

To  subserve  all  the  ends  we  have  specified, — ends,  of 
which  numbers  have  already  been  accomplished  by  many 
both  of  professionists  and  of  amateurs, — it  must  be  in  the 
hands  of  genius,  and  of  none  beside.  With  us  it  is  an 
axiom,  that  an  art,  which  requires  genius,  and  cannot 
otherwise  fulfil  its  proper  ends,  must  needs  be  ranked 
among  the  Fine  Arts.  In  that  rank,  therefore,  we 
place  heliography. 


CHAPTER  XXXII. 

HELIOGRAPHY — ITS  ARTISTIC  CHARACTER  AND  RELATIONS. 

Wrong  opinions  of  heliography  almost  universal — Now  changing  for  the 
better — Heliographer  must  study  as  largely  as  the  painter — Artistic  studies 
needed  by  him — Bodies,  how  existing  in  nature  ? — -Elements  of  a  picture, 
what  ? — Photography  and  painting,  in  what  alike  ? — Former  derives  nothing 
from  color;  latter  very  much — Differences  between  the  two,  what  ? — Expres- 
sion constitutes  the  portrait — Examples  of  same — Dress,  its  influence — Color 
and  position  important — Size  of  portrait,  how  determined  ? — Descriptive  and 
historic  sketches — Difficulty  of  getting  best  expression — Distribution  of  light 
important — Great  difficulties  in  getting  photographic  groups — Conditions 
requisite. 

As  we  have  repeatedly  hinted  before,  the  public  at 
large,  and  the  professors  of  the  fine  arts,  and  (what  is 
still  stranger  and  more  to  be  regretted)  the  scientific 
amateurs  of  heliography,  have  habitually  looked  upon 
this  art,  rather  as  a  mere  chemical  and  mechanical 
process,  than  as  belonging  to  the  category  of  painting 
and  sculpture,  governed  by  the  same  laws  as  these,  and 
capable  of  producing  kindred  effects. 

But,  everywhere  in  this  volume,  the  reader  will  find 
very  different  views  advanced.  Again  and  again  have 
we  claimed  for  sun -painting  the  character  and  title  of  a 
fine  art,  and  this  claim  we  have  advocated  with  our 
utmost  ability.  And  we  have  done  so,  not  alone  on  these 
pages,  but  in  many  successive  contributions  to  our  pho- 
tographic journals  for  the  last  seven  or  eight  years, 
during  which  this  work  has  been  in  hand. 

As  the  months  and  years  have  rolled  on,  we  have  been 

(432) 


HELIOGRAPHY — ITS  ARTISTIC  RELATIONS.  433 


gladdened  to  find,  now  in  some  scientific  or  artistic  pub- 
lication, and  now  in  some  address  to  a  photographic 
society,  an  occasional  paragraph,  wherein  the  capabilities 
of  our  art  were  measurably  recognised,  and  its  artistic 
quality  and  claims  in  some  degree  conceded. 

Not  indeed  that  full  justice  was  awarded  to  it,  or  its 
true  character  and  possibilities  were  even  proximately 
comprehended.  Nor,  in  any  heliographic  hand-book,  or 
treatise  for  the  general  information,  have  we  met  with, 
more  than  some  brief  and  inadequate  allusion  to  this 
point,  with  the  single  exception  (quite  recent  in  its  date) 
of  a  text-book,  comprised  in  one  hundred  pages,  by 
M.  Disderi,  an  eminent  French  photographer.  Here  we 
find  a  far  higher  rank  assigned  to  photography,  than  we 
have  seen  accorded  to  it  otherwhere. 

We  are,  however,  by  no  means  satisfied  even  with  Ms 
views  of  our  art.  In  our  opinion  he  underprizes  its 
possible  reaches  of  performance,  and  places  it  much  below 
its  merits.  Still  he  presents  many  valuable  hints,  which, 
as  indicating  considerable  progress  in  the  true  direction, 
seem  to  us  worthy  of  examination.  As  confirming, 
moreover,  by  his  high  authority,  many  of  the  views 
advanced  in  this  work,  in  the  maintenance  of  which,  at 
its  commencement,  we  stood  almost  if  not  entirely  alone 
we  have  found  an  additional  reason  for  introducing  here 
some  extracts  from  his  treatise.  Our  limits,  however, 
will  restrict  us  to  what  follows,  in  which  I  have  often 
adopted  the  thoughts,  rather  than  the  words  of  the 
writer,  and  which  is  accompanied  with  criticisms  and 
comments  of  my  own. 

At  first  view,  the  photographic  reproduction  of  nature 

would  seem  to  require  nothing  more  than  a  knowledge 

of  certain  chemical  materials  and  optical  instruments, 

and  of  one  simple  method  of  applying  the  same.     But 

28 


434         THE  CAMERA  AND  THE  PENCIL, 

experience  teaches  that  this  knowledge,  how  complete 
soever,  will  not  of  itself  insure  a  perfect  transcript  of  the 
reality ;  since  we  find  it  necessary  to  vary  our  mode  of 
operating,  according  to  the  nature  and  surroundings  of 
the  object  to  be  represented. 

Thus,  one  way  of  proceeding  will  probably  produce 
vigorous  effects ;  another  is  requisite  when  "  softness" 
is  desired,  or  when  the  objects  are  uniformly  and  pro- 
perly illumined;  and  it  is  always  essential  to  combine 
the  distances  according  to  the  power  of  the  instrument, 
so  as  to  secure  in  the  image  the  same  proportions  that 
exist  in  the  model. 

Thus,  to  appreciate  the  effects  of  the  light  and  distance, 
and  all  the  circumstances  modifying  the  scene,  requires 
a  knowledge  quite  other  than  that  of  the  appropriate 
chemicals.  It  demands  of  the  operant  to  note  carefully 
the  effect  produced,  and  to  study  the  causes  producing 
it ;  e,  g.  the  distribution  of  the  lights  and  shades ;  the 
relative  intensity  of  the  different  colored  masses ;  the 
perspective  of  the  flat  surfaces ;  and  lastly,  the  propor- 
tions of  the  various  objects. 

Therefore,  for  the  simple  reproduction  of  nature,  taken 
at  ha^iard  and  without  choice  of  particulars,  the  photo- 
grapher should  possess,  besides  an  acquaintance  with  the 
laboratory,  a  very  different  order  of  knowledge ;  and  he 
is  constrained  to  a  course  of  study  very  like  that  required 
by  the  artist,  as  a  basis  for  his  art. 

The  aim  of  photography,  however,  is  not  merely  to 
reproduce  nature  taken  at  hazard.  These  operations 
should  be  guided  by  a  choice,  determined  by  the  ideas  or 
temperament  of  the  individual.  It  is  on  this  account, 
that  the  productions  of  different  operants  are  marked  by 
peculiarities,  which  reveal  the  author's  personality.  In 
fact,  each  individual  selects  his  subject  according  to  his 


HELIOGKAPHY — ITS  ARTISTIC  RELATIONS.  435 

special  idea  of  the  beautiful ;  in  tlie  scene  to  be  repre- 
sentedj  lie  arranges  the  parts,  and  combines  the  chiar? 
oscuro  according  to  his  taste ;  and  even  in  the  execution 
he  finds  multitudinous  combinations  for  the  general 
aspect  of  his  work. 

THE  ARTISTIC  STUDIES  REQUIRED  BY  THE  PHOTOGRAPHER. 

These  are  nearly  as  vast  as  those  of  the  painter  him- 
self. Like  him,  the  photographer  should  study  the  laws 
of  beauty,  of  producing  it  by  composition ;  the  forms,  the 
disposition  of  the  parts,  the  chiar'  oscuro,  and  the  execu- 
tion. To  feel  that  a  thing  is  beautiful,  does  not  suffice 
to  constitute  an  artist.  The  individual  must  know  why 
it  is  so,  and  whether  this  beauty  may  be  expressed  by 
the  art  he  studies ;  and  he  must  know  the  key  to  all  the 
combinations  of  means,  whereby  the  ideas  and  sentiments 
are  to  be  expressed.  The  photographer  can  no  better 
dispense  with  such  knowledge  than  the  painter.  It  must 
not,  however,  be  forgotten,  that  photography  and  paint- 
ing are  two  different  arts,  notwithstanding  these  striking 
analogies  between  their  objects  and  the  means  of  attain- 
ing them.  We  will  attempt  to  present  a  few  points  of 
the  distinction  between  the  two. 

First,  then,  photography,  unlike  painting,  derives  no  aid 
from  color.  To  painting  color  is  a  powerful  resource ; 
completely  modifying  the  combinations  that  preserve  its 
other  parts.  To  render  a  parallel  between  the  two  arts 
possible,  and  make  the  comparison  clear  and  distinct, 
photography  must  be  compared  with  cameo-painting  or 
drawing.  The  analogy  would  then  be  perfect,  so  far  as 
the  visible  aspect  resulting  from  the  material  employed 
is  concerned ;  since  photographic  drawing  may  be  ob- 
tained in  all   shades  and  on  many  various  substances, 


436  THE  CAMEEA  AND  THE  PENCIL. 

always  producing  the  same  asjDect.  This  consideration 
is  important  from  the  fact  that  the  general  color  perva- 
ding the  whole,  being  appropriate,  must  increase  the 
harmony,  the  beauty,  and  the  significance  of  the  subject. 

Let  us  endeavor  to  distinguish,  in  their  "ensemble,''''  the 
fundamental  causes  determining  the  character  and  im- 
port of  the  natural  spectacle,  which  is  the  common  basis 
of  both  arts. 

Bodies  exist  in  geometrical  forms,  and  are  located  in 
different  parts  of  the  space  that  expands  before  our  sight ; 
the  light  illuminates  them  by  distributing  its  rays  over 
their  surfaces,  thereby  not  only  rendering  their  forms 
perceptible,  but  also  revealing  two  properties  belonging 
to  the  essence  of  the  bodies,  and  completing  the  total  of 
the  elements  constituting  the  natural  spectacle,  viz.,  color 
and  tone. 

It  may  be  remarked  that  different  bodies  present  not 
only  different  colors,  but  also  different  degrees  of  bril- 
liancy, under  the  same  light  and  in  the  sam^e  place — they 
are  more  or  less  light  or  dark ;  they  have  a  light  which 
belongs  to  them  naturally,  and  shows  itself  independently 
of  all  coloring.  This  distinction  between  the  natural 
color  of  bodies  and  what  may  be  termed  the  chiar' 
oscuro  or  tone,  is  of  considerable  moment  with  respect 
to  photography,  as  it  serves  to  fix,  with  much  exactness, 
the  limits  to  be  observed  in  representing  nature. 

The  elements  of  a  picture  are  the  form  of  objects,  their 
color,  and  their  natural  tone,  revealed  by  the  light 
shining  upon  them.  The  positions  of  the  forms  among 
themselves;  the  objects  with  respect  to  the  light,  and 
with  respect  to  us,  produce  infinitely  varied  effects,  by 
creating  numberless  relations  between  the  various  ele- 
ments of  the  visible  spectacle.  From  all  these  combina- 
tions will   result   a   general   effect,  which  will   be   the 


HELIOGKAPHY — ITS  ARTISTIC  RELATIONS.  437 


character  or  significance  of  the  picture.  It  is  therefore, 
important  that  the  artist  should  know  to  what  extent 
each  of  the  elements,  first  enumerated,  conduces  to  the 
final  result ;  and,  especially,  must  he  unite  in  his  imita- 
tion the  elements  which,  by  their  relations,  constitute  the 
meaning  of  the  natural  spectacle. 

If  the  painter  or  the  photographer  is  struck  by  the 
beauty  of  an  object,  he  should  endeavor  to  detect  the 
cause,  or  the  origin  of  his  impressions.  This  may  be  the 
arrangement  of  colors,  or  perhaps  some  felicitous  con- 
trast. This  eloquence  of  color  may  be  so  potent  as  to 
dominate  all  the  rest ;  so  that,  were  we  to  withdraw  from 
the  picture  all  the  expression  it  receives  from  its  colors, 
all  that  remains  would  produce  but  an  indifferent  expres- 
sion, and,  very  possibly,  one  devoid  of  beauty.  On  this 
account  it  is,  that  many  of  the  photographic  proofs,  taken 
of  scenes,  a^^jareniiZ^/  very  effective,  are  in  reality  so  often 
dull  and  destitute  of  the  character  which  had  arrested 
our  attention  and  determined  our  choice. 

Let  us  now  introduce  into  the  comparison  between 
photography  and  painting  a  subject,  that  derives  more 
of  its  essential  significance  from  color. 

In  regard  to  exact  imitation  of  nature,  the  two  arts  are 
strikingly  similar.  The  photographer  indeed  can  express 
the  natural  spectacle,  with  its  forms,  its  perspectives,  its 
lights  and  shades,  &c.,  quite  as  well  as  the  painter,  if  not 
better. 

But,  as  already  remarked,  imitation  without  choice  is 
not  the  sole  aim  of  photography,  and  here  the  difference 
between  the  two  arts  becomes  very  marked.  For,  while 
the  painter,  by  a  sort  of  natural  impulse,  chooses  natural 
objects  of  the  most  opposite  character,  and  groups  them 
together,  modifying  them  in  position  or  detail,  the  pho- 
tographer cannot  dispense  with  the  presence  of  the  objects 


438         THE  CAMEEA  AND  THE  PENCIL. 

he  would  reproduce.  Let  us  try  to  illustrate  by  exam- 
ples. 

Thus,  if  a  painter  wished  to  express  the  sentiment  of 
calm  and  tranquillity,  produced  by  an  early  morning 
excursion  into  the  country,  with  the  varied  scenes  spread 
out  before  his  eyes,  he  may  recall  many  variations  of  the 
landscape,  which  had  previously  struck  him;  e.  g.  the 
curious  forms  of  certain  trees,  the  peculiar  eifect  of  a 
piece  of  water,  &c.  He  assembles  these  scattered  frag- 
ments in  a  single  composition,  and  if  some  apparently 
essential  part  be  wanting,  he  seeks,  in  the  boundless 
field  of  nature,  some  suitable  object  to  supply  the  defi- 
ciency. Imagination,  memory,  and  present  vision,  all 
unite  in  furnishing  the  materials  of  the  composition,  and 
these  materials,  each  and  all,  he  modifies  to  suit  his  pur- 
pose. 

The  photographer  cannot  thus  proceed.  He  must 
seek  the  scattered  elements  which  have  originated  the 
idea  he  would  express,  not  by  help  of  imagination,  but 
as  assembled  in  reality .  He  thus  composes  his  picture  by 
a  series  of  systematic  calculations.  To  sum  up : — The 
painter,  in  addition  to  the  reality,  which  may  be  present, 
may  employ  the  boundless  resources  of  imagination. 
Contrariwise,  the  photographer,  in  his  composition,  is 
bound  to  the  reality ;  while,  in  the  execution,  he  is  limited 
to  exact  imitation. 

Whatever  be  the  species  of  picture  which  the  photo- 
grapher aims  to  produce,  he  must  follow  the  great  law 
of  unity;  i.  e.  the  composition  should  have  but  one 
decided  point  of  interest;  and  the  forms,  attitudes, 
shades,  &c.,  should  unite  for  the  expression  of  this. 

For  instance,  in  a  portrait,  the  individual  represented 
should  constitute  the  feature  of  interest ;  the  accessories, 


HELIOGRAPHY — ITS  ARTISTIC  RELATIONS.  439 

sucli  as  draperies,  background,  &c.,  should  all  be  mere 
subordinate  details. 

In  a  composition  representing  inanimate  nature ;  e.  g. 
a  group  of  deer — by  introducing  hunters,  horses,  &c.,  you 
destroy  the  unity  of  interest  and  infringe  a  law  of  art. 

OF  THE  PORTRAIT. 

At  first  sight,  it  seems  suf&cient,  in  order  to  produce 
a  good  portrait,  that  the  model  should  remain  still,  and 
the  operant  employ  the  shortest  possible  method.  How 
is  it,  then,  that  so  many  portraits  are  not  at  all  good 
likenesses;  and  that  the  friends  of  the  model  are  so 
rarely  satisfied  with  the  result  of  a  sitting?  How  is  it, 
that  the  different  representations  of  the  same  person  are 
so  various,  that  they  sometimes  express  dissimilar,  and 
sometimes  even  opposite  characters  ?  The  reason  for  all 
this  is,  that  the  same  person  is  susceptible  of  an  infinite 
diversity  of  moods,  and  may,  therefore,  present  infinitely 
diverse  aspects.  Few  of  these  represent  the  true  and 
dominant  character  of  the  model.  It  is  the  expression 
of  this  dominant  character  that  constitutes  the  portrait, 
and  not  a  mathematically  exact  reproduction  of  the  features 
and  for  in.  As  the  first  step  towards  obtaining  a  good 
portrait,  the  photographer  should  penetrate,  by  whatever 
means  at  his  command,  the  fleshly  mask,  which  envelopes 
the  spiritual  part  of  his  model,  and  ascertain  his  real 
type  and  character.  The  second  step  is,  by  animating 
conversation,  and  all  other  appliances,  to  call  into  the 
face  the  exjjression  of  such  character.  Thus  much  being 
done,  the  solar  pencil  will  perform  the  rest.  To  avoid 
repetition,  we  would  refer  the  reader  to  the  four  chapters 
on  expression,  especially  the  first  two, — Vol.  First,  pages 
2-i6-7.     He  will  there  fiod   the    subject  of  portraiture 


440         THE  CAMERA  AND  THE  PENCIL. 

discussed  in  full.  I  would  also  recommend  his  consult- 
ing, for  the  same  purpose,  the  series  of  chapters  in  Part 
First,  commencing  with  the  seventh  and  extending  to 
the  sixteenth.  It  is  only  by  first  ascertaining  the  proper 
expression,  that  the  artist  is  enabled  to  select  the  atti- 
tude, the  distance,  the  lights  and  shadows,  and  various 
accessories  of  the  picture ;  and  knowing  these,  he  seeks 
to  obtain  the  optical  combinations  required  for  express- 
ing the  result  of  his  observations ;  i.  e.  he  composes  the 
portrait. 

The  class  of  impressions  made  upon  an  intelligent 
beholder,  by  observing  the  portrait  of  an  individual,  will 
go  far  towards  proving  its  general  truthfulness  or  falsity. 
Thus  the  representation  of  a  true  philosopher,  who  has 
passed  his  life  in  close  study  and  diligent  research, 
should  awaken,  even  independently  of  resemblance  and 
similar  considerations,  calm,  and  serious  ideas;  it  should 
possess  simple  attitudes ;  an  interior  light  distributed  in 
tranquil  masses,  with  half-shades,  deep  background,  and 
VQTj  sober  accessories.  The  head,  as  the  seat  of  thought, 
should  present  a  brilliant  and  luminous  aspect. 

On  the  other  hand,  the  portrait  of  a  soldier,  who, 
though  young,  has  achieved  the  right  to  command,  and 
has  distinguished  himself  by  unusual  daring,  should 
create  quite  other  impressions.  The  life,  passion,  and 
energy  which  are  its  fitting  expression,  would  properly 
accord  with  an  open-air  treatment ;  plenty  of  light,  with- 
out mysterious  half-tones ;  the  body  firmly  poised ;  the 
gestures  frank,  decided,  and  vigorous ; — such  should  be 
the  representation  in  question. 

Of  course,  these  general  styles  of  presentment  might 
be  modified  by  the  artist  to  correspond  to  peculiarities 
in  the  originals.  In  order,  moreover,  to  make  the  por- 
trait beautiful,  as  well  as  truthful,  so  far  as  may  be,  he 


HELTOGRAPHY — ITS  ARTISTIC  RELATION'S.  441 

should  SO  use  liis  appliances,  as  to  cast  blemishes  and 
defects  of  the  model  into  shade,  and  to  bring  out  good 
points  into  prominence.  (See  chapters  above  referred  to 
in  Part  First.) 

To  get  the  desired  proportions  of  the  figure  requires 
no  slight  acquaintance  with  optical  efi'ects.  Thus,  the 
figure  will  appear  much  larger,  if  the  head  is  placed 
near  the  top  of  the  frame,  leaving  plenty  of  free  space  at 
each  side.  It  will  be  increased  or  diminished  in  size,  as 
it  is  brought  towards  the  right  or  left  edge,  with  much 
space  above  it. 

Dress,  too,  greatly  influences  the  proportions, — close- 
fitting,  light  cloth  garments  enlarging  the  head,  hands, 
and  extremities ;  while  an  ample  flowing  dress  diminishes 
the  same. 

Again,  he  may  increase  the  size  of  a  head,  that  appears 
too  small,  by  throwing  the  light  on  the  face ;  and  lessen 
it,  by  using  a  tint  that  would  throw  half  the  face  into 
the  shade.  Backgrounds  produce  the  same  effects,  accord- 
ing as  they  are  light  or  dark. 

The  proper  size  to  be  adopted  for  a  photographic 
portrait  should  be  determined  by  the  importance  of  the 
subject,  and  especially  by  the  mode  of  treatment  and  the 
disposition  of  the  scene.  The  place  to  which  it  is 
destined  should  also  be  considered — an  open  position 
requiring  much  larger  dimensions  than  a  boudoir,  or 
ordinary  apartment. 

So  the  portrait  may  represent  the  individual  in  full 
length,  in  half  length,  or  in  merely  the  bust.  The  first 
gives  best  the  complete  likeness,  but  involves  many  and 
great  difficulties. 

The  head  should  never  be  represented,  unaccompanied 
by  the  bust  at  the  least. 

The  group-portrait  is  often  very  much  abused,  and  has 


442  THE  CAMEEA.  AND  THE  PENCIL. 

sTiown  the^  worst  results  of  any  kinds  of  portraits.  If  it 
be  so  difl&cult  to  produce  a  good  likeness  of  one  person, 
liow  much  more  to  represent  many,  and  these  of  different 
ages,  sexes,  and  characters ! 

The  position  of  the  model  is  important ;  and  in  this 
especially  the  artist  should  clearly  understand  the  char- 
acter of  the  person  he  would  represent.  The  first  con- 
dition of  a  good  attitude  is,  that  it  should  be  in  accord- 
ance with  the  age,  stature,  habits,  and  manners  of  the 
individual^  and  secondly,  that  it  should  express  the 
greatest  beauty  of  which  the  model  is  susceptible. 

The  pose  should,  moreover,  express  unity  of  aspect  and 
be  optically  correct.  A  dominant  movement,  therefore, 
must  be  found,  which  harmonizes  with  all  the  other 
particulars. 

The  great  difl&culty  in  regard  to  the  physiognomy,  is 
to  distinguish  from  the  multitude  of  different  expressions 
presented  by  the  model,  the  one  which  is  most  char- 
acteristic,  or  best  represents  his  individuality,  or  most 
accords  with  the  sentiment  intended  to  be  exhibited  by 
the  "ensemble''''  of  the  portrait,  and  which  is,  at  the  same 
time,  most  favorable  to  a  good  resemblance.  The  expres- 
sion giving  the  person's  true  character  is  (as  we  have 
said  scores  of  times)  an  absolute  essential. 

Among  other  expedients  to  be  employed,  the  artist 
should  place  himself  in  the  moral  state  he  desires  to 
create  in  the  person  to  be  represented,  and  thus  take  on 
himself  the  expression  he  would  give  to  him.  Uncon- 
scious imitation  on  the  part  of  the  model  may  help  the 
artist  in  his  task. 

To  obtain  a  good  result,  the  artist  should  especially  be 
exempt  from  interruption,  and  Disderi  thinks  he  should 
be  ahne  with  his  model.     In  the  case  of  children  he 


HELTOGRAPHY — ITS  ARTISTIC  RELATIOXS.  443 

deems  this  condition  essential,  as  they  should  be  photo 
graphed  ivithout  being  conscious  of  it. 

That  Disderi  is  a  first-class  authority  is  undeniable ; 
and  that  he  is  right,  as  regards  interruption,  we  are  not 
disposed  to  deny.  But  with  his  idea  of  the  artist  being 
alone  with  his  model,  we  cannot  agree.  For  the  presence 
and  varied  conversation  of  congenial  friends,  at  a  seance, 
may  be  an  incalculable  help  to  the  artist,  in  producing 
in  the  sitter^s  mind,  the  mood  desired — that  mood,  which 
shining  out  upon  the  face,  and  thence  transferred  to  the 
plate,  shall  stamp  thereon  an  image  which  leaves  nothing 
to  be  wished  for.  No  artist  exists  who  is  so  flexible  and 
electrically  swift  in  his  mental  activities,  as  to  adapt 
himself  to  scores  of  successive  sitters  per  day,  to  each 
of  whom  but  a  few  minutes  can  be  granted, — so  adapt 
himself,  as  to  produce  in  each  the  state  required.  Our 
opinion,  therefore,  is  that  the  company  of  friends  of  the 
right  kind,  is  one  of  the  greatest  of  benefits  instead  of 
the  worst  of  hindrances. 

A  skilful  choice  and  distribution  of  light  are  important 
to  a  portrait.  The  general  efiect  of  the  lights  and 
shadows  should  be  appropriate  to  the  character.  Thus, 
if  the  portrait  be  that  of  a  child,  the  scene  should  be 
conceived  in  a  clear  and  smiling  light,  free  from  deep 
an.d  heavy  shadows.  Whereas,  if  the  portrait  be  that 
of  a  man  of  firm  character,  sombre  and  ample  masses 
should  be  alternated  with  luminous  ones ;  the  shadows 
should  be  powerful  and  the  lights  large  and  frank. 

It  should  by  no  means  be  overlooked,  that  all  the 
combinations  above  enumerated,  as  requisite  conditions 
for  obtaining  a  good  portrait,  may  be  absolutely  nullified 
by  a  false  selection  of  color  in  the  dress  of  a  model. 
The  colors  most  luminous  to  the  eye,  do  not  always 
produce  the  most  energetic  effects ;  e.  g.  red,  orange,  and 


444         THE  CAMERA  AND  THE  PENCIL, 

yellow,  are  almost  without  action ;  green  acts  but  feebly ; 
blue  and  violet  are  reproduced  very  quickly.  Thus  a 
person  of  very  fair  complexion  must  avoid  dressing 
either  in  green,  or  orange,  or  red,  as  the  lights  would  be 
too  prominent,  and  the  whole  portrait  would  lack  energy 
and  detail.  The  artist,  therefore,  should  be  very  careful 
in  choosing  his  model's  dress.     (See  page  67,  Harmony, 

&G.) 

Portrait-coloring  should  be  confined  only  to  artists  of 
uncommon  ability  and  skill.  For  it  is  not  only  necessary 
to  avoid  losing  the  likeness,  but  the  colors  must  not  be  so 
opaque,  as  to  cover  and  make  invisible  the  shades  pro- 
duced by  the  light. 

From  the  foregoing  remarks  it  is  evident,  that  the 
production  of  a  good  portrait,  combining  resemblance 
with  beauty,  is  a  difficult  achievement ;  and  that  the 
photographic  art  can  be  acquired  only  by  patient  study 
and  a  long  and  constant  observation  of  nature. 

ANIMATED   SCENES — DESCRIPTIVE   AND    HISTORICAL    SUB- 
JECTS. 

It  is  most  especially  in  the  treatment  of  scenes  where- 
in the  personages  are  supposed  to  be  in  action,  that 
the  photographer  must  possess  the  clearest  possible  idea 
of  the  particular  language  and  multiform  resources  of  his 
art.  In  the  impression  produced  by  animated  nature, 
color  often  makes  a  considerable  item.  Many  photo- 
graphers, in  their  quest  of  interesting  subjects,  have  been 
attracted  by  those  Southern  lands  which  have  inspired 
so  many  painters ;  but  the  specimens  they  have  brought 
back  have  often  failed  of  giving  a  clear  or  pleasing  idea 
of  the  regions  they  wished  to  represent.  The  reason  of 
'vhich'  is,  that  they  have  been  carried  away  by  those 


HELIOGRAPHY — ITS  ARTISTIC  RELATIONS.  445 

brilliancies  of  color  and  costume,  which  are  not  within 
the  scope  of  their  art,  to  the  neglect  of  scenes  which 
photography  might  have  pictured.  While  observing 
nature,  the  photographer  must  often  ask  himself,  if  the 
scene  he  admires  would  retain  the  same  expression,  if 
devoid  of  color  ? 

Although  strictly  obliged  to  imitate  reality,  the  pho- 
tographer may,  nevertheless,  sometimes  unite  the  elements 
of  the  scene  he  would  represent.  He  may,  in  fact, 
compose  the  scene  he  wishes  to  reproduce,  by  choosing 
the  personages  ;  giving  them  costumes  appropriate  to  the 
parts  he  would  have  them  take,  and  combining  the 
diff'ei'ent  effects  of  light  and  distance. 

In  a  vast  atelier  (sitting-room)  properly  organized  and 
fitted  up  with  backgrounds,  reflectors,  and  all  requisite 
accessories,  the  intelligent  and  skilled  photographer, 
aided  by  capable  models,  may  therefore  essay  the  most 
complicated  and  difficult  pictures,  provided  the  subjects 
do  not  necessitate  attitudes  which  depict  and  illustrate 
the  passions,  as,  for  instance,  in  the  episodes  of  battles 
by  Salvator  Rosa.  Might  he  not  represent  interiors  like 
Van  Ostade,  Pierre  de  Hooge,  Chardin,  Granet,  &c.? 
Might  he  not  attempt  to  exhibit  the  sentiment  of  Schaeffer, 
and  the  style  of  Watteau ;  or  the  meritorious  compositions 
executed  in  the  manner  of  Ducq,  Terburg,  Teniers,  &c.? 
Why  should  he  not  treat  historic  subjects  like  Paul 
Delaroche,  in  his  picture  of  the  death  of  Henri  Due  de 
Guise  ?  And,  by  constructing  an  atelier  sufficiently 
spacious,  and  securing  a  sufficient  number  of  the  most 
highly  accomplished  models,  why  might  he  not  attempt 
those  vast  compositions  for  which  Veronese  was  dis- 
tinguished ? 

Certainly  the  photographer  might  atterajot  these  and 
kindred  compositions  ;  but  whether  such  attempts  would 


446         THE  CAMERA  AND  THE  PENCIL. 

issue  in  triumphs  or  defeats,  is  a  question  which  it  were 
impossible  to  answer  decisively,  and  not  easy  to  answer 
at  all. 

The  remarks  already  presented  concerning  the  por- 
trait, show  how  difficult  it  is  to  produce  a  single  figure, 
marked  by  that  expression  which  alone  constitutes  it  a 
portrait,  truthfully  representing  the  original.  How 
would  it  be  possible  to  apply  the  many  nice  expedients 
required  for  begetting  that  expression  in  one,  to  numbers 
small  or  great, — numbers  who  must,  at  one  and  the  same 
instant,  exhibit,  in  face,  form,  position,  &c.,  each  the 
character  he  is  intended  to  embodj^  and  manifest  ? 

It  is  evident  that,  by  no  unaided  endeavors  of  his  own, 
can  he  prepare  the  group  for  the  moment  of  taking  by 
the  camera.  If  prepared  at  all,  the  models  must  almost 
wholly  23'f'epare  themselves.  By  a  sort  of  self-magnetization, 
they  must  place  themselves  in  the  several  positions  of 
the  persons  they  mean  to  represent,  and  identify  them- 
selves completely  with  such  persons.  The  enormous 
difficulties  attending  the  achievement  of  such  results,  are 
obvious  at  a  glance ;  and  Disderi  seems  to  reckon  them 
so  many  and  great,  as  to  imply  an  absolute  impossibility. 

We  admit  fully  the  difficulties  of  the  case,  but  we  can- 
not recognise  its  impossihility.  A  Grarrick,  a  Kemble,  a 
Kean,  a  Mrs.  Siddons,  a  Mrs.  Jordan,  a  Fanny  Kemble, 
a  Forrest  and  a  Booth,  a  Murdoch,  a  Davenport,  and  a 
Charlotte  Cushman,  have  once  lived,  and  before  the  eyes 
of  multitudinous  beholders,  have  been  able  to  reproduce, 
to  the  minutest  particular,  the  various  characters  they 
assumed  to  represent.  Has  the  advance  of  our  race 
ceased  ?  Has  its  utmost  goal  been  reached  ?  Does  the 
future  enfold  in  its  teeming  bosom,  no  duplicate  fac- 
similes of  the  Kemble,  the  Siddons,  and  their  compeers 
of  the   days  foregone?     Fac-similes?     Why  not  even 


HELIOGEAPHY — ITS  ARTISTIC  RELATIONS.  447 

superiors  to  those  sons  and  daughters  of  fame, — those 
worthy  wearers  of  the  civic  crown  ? 

Why,  then,  may  not  the  time,  how  far  distant  soever, 
actually  become  the  time  instant,  wherein  shall  live  mul- 
titudes, capable  of  executing  tasks  immeasurably  harder 
than  the  one  in  question  ?  For  ourselves,  we  look 
forward  to  the  era  wherein  the  sun-painting  art,  improved 
beyond  our  present  conceptions,  shall  depict  groups, 
comprising  multitudes,  who,  each  unaided,  shall  represent 
to  the  most  vivid  life,  the  most  brilliant  characters, 
encompassed  by  the  sublimest  or  loveliest  scenes,  and 
engaged  in  actions  which  thrill  and  exalt  the  spectators 
to  a  mimic  heaven  on  earth !  Who  shall  say  that  repre- 
sentations like  these  may  not  be  among  the  most  potent 
of  earthly  influences,  for  civilizing,  refining,  and  eleva- 
ting our  kind  ? 

Disderi  admits  that,  even  now,  some  inanimate  scenes 
and  some  human  groups  may  be  regarded  and  treated  as 
proper  subjects  for  the  camera.  For  example,  the  culture 
of  the  fields ;  the  different  trades  ;  military  and  every-day 
life,  all  furnish  the  photographer  with  subjects,  which 
periodically  appear  under  nearly  the  same  conditions. 
In  regard  to  these  the  operant  should  proceed  in  the 
same  manner  as  with  the  portrait.  He  should  first 
endeavor  to  ascertain  its  true  character  and  significance, 
and  then  cast  about  for  the  means  of  reproducing  it  to 
the  best  advantage. 

On  the  whole,  however,  he  speaks  discouragingly  of 
the  capability  of  photography  for  representing  descriptive 
or  historical  subjects,  or  indeed  groups  of  any  class, 
whether  animate  or  inanimate.  As  we  have  already 
stated,  however,  in  the  many  causes  which,  in  his  view, 
render  such  representation  impracticable,  we  behold  only 
difficulties,  which  time  and  persistent  systematic  endeavor 


448  THE  CAMEEA  AISTD  THE  PEXCIL. 

may  eventually  overcome.  For  the  stage  men  and  women 
are  carefully  edacated  and  disciplined.  For  the  equita- 
tion and  the  ground  and  lofty  tumbling  of  the  circus ; 
for  the  exhibitions  of  the  tight  and  slack  rope ;  for  jug- 
glery ;  for  singing  and  dancing,  and  a  multitude  of  kin- 
dred displays,  individuals  are  prepared  by  a  lengthened 
and  rigorous  course  of  training,  and,  as  the  result  of 
such  training,  they  are  enabled  to  execute  feats,  which, 
to  the  uninitiated,  seem  more  like  miracle  than  prosaic 
every-day  actualities. 

Why,  then,  may  not  education  and  discipline,  if  suffi- 
ciently thorough  and  protracted,  fit  men  and  women  for 
models  to  represent  such  scenes  and  living  groups  as  the 
photographer  may  wish  to  transfer  to  plate  or  paper,  be 
they  as  complicated  and  beset  with  difficulties  as  they 
may?  No  limit  can  be  set  to  the  possible  development 
and  progress  whether  of  art  or  artists,  and  of  the  appli- 
ances required  by  them,  whether  inanimate  or  human ; 
and  what  may,  perhaps,  be  impracticable  to-day,  may 
cease  to  be  so  a  generation  or  a  century  hence. 

And  the  models  required  by  the  photographer  for  these 
large  and  complex  representations,  may  serve  besides  to 
entertain  and  instruct  the  public,  by  composing  and  ex- 
hibiting "tableaux  vivants."  In  these  spectacles  maybe 
presented  the  sublimest  and  loveliest  scenery  of  all  lands, 
and  the  grandest  and  most  beautiful  monuments  of 
human  genius,  skill,  and  labor,  in  both  the  ancient  and 
the  modern  worlds,  together  with  man  himself,  of  every 
nation,  tribe,  and  aspect  on  earth,  and  engaged  in  every 
various  occupation  pertaining  to  earthly  existence.  By 
the  same  flexible  appliances,  the  most  thrilling  and 
critical  scenes  and  actions,  which  are  commemorated  in 
history  or  imagined  in  romance,  together  with  the  heroes 
or  geniuses,  the  sages  or  saints  or  martyrs,  who  have 


HISTOEY  OF  THE  HELIOGRAPHIC  ART.  449 

borne  a  part  therein,  may  be  reproduced  before  the 
contemplation  of  tlie  present  generation  with  the  vivid- 
ness of  living  reality.  What  incalculable  means  and 
materials  of  instruction,  of  refinement,  and  of  elevation, 
not  less  than  of  recreation  and  amusement,  are  here  pre- 
sented !  And,  after  serving  this  primary  and  most 
important  end,  they  may  serve  the  photographer  in 
producing  pictures  of  whatever  is  most  interesting  and 
instructive,  either  in  the  vast  and  multiform  world  of 
reality,  or  the  still  vaster  and  more  various  world  of 
imagination  and  inventive  genius. 

From  these  slight  suggestions  we  leave  the  reader  to 
form  his  own  conclusions,  as  to  the  importance  and 
dignity  of  our  art,  and  the  magnificent  purposes  it  is 
capable  of  subserving. 


29 


INDEX. 


Actinism,  51,  62. 

Address  to  ocean,  208. 

Adulterations  of  commodities,  335. 

^sop,  170. 

^tna,  176. 

Agesander,  251. 

Alabastrine  process,  306-8. 

Albert  Durer,  150. 

Alexander,  152,  261. 

Alison,  writer  on  taste,  190. 

AUston,  Washington,  242,  252,  224. 

Alps,  5S,  161. 

Ambition,  true,  41. 

Ambrotype,  373,  404. 

American  art,  24. 

American  Journal  of  Photography,  389. 

Amphitj'pe,  402. 

Amplitude,  in  costume,  128. 

Anatomists,  of  nature,  416. 

Anatomy  of  expression,  160. 

Ancients,  understood  beauty,  187-8. 

Andrea  del  Sarto,  252. 

Andrew,  St.  256. 

Angelo,  Michael,  33,  113,  153. 

Animal  kingdom,  169. 

Animate,  object,  60. 

Animated  scenes,  444-9. 

Annibale  Caracci,  221. 

Anthony,  Edwards  &  Co.,  361. 

Anthony,  N.  Y.,  359. 

Anthotype,  402. 

Antipathy,  nature  of,  167. 

Apelles.  ancient  painter,  202,  247,  254. 

Apollo,  147. 

Apiillodorus,  247. 

.^.piiaratus,  65. 

Appletons.  booksellers,  N.Y.,  382. 

Arago,  340-5. 

Archer,  Frederick  Scott,  406. 

Ariost,  the  poet,  197. 

Aristides,  "the  just,"  196. 

Aristides,  painter,  245. 

Aroostook,  361. 

Art.  definition  of,  210. 

Artist,  a  creator,  22,  32. 

Artist-genius,  71. 

Artistic,  studies  of  photographer,  435-9. 


Art-Journal,  80. 

Arts,  the  fine,  19,  25. 

Art,  with  its  incidents  and  belongings,  207, 

252. 
Arsenal,  U.  S.,  351. 
Ashburton,  I/Ord,  361. 
Aspect,  of  face,  128. 
.Atmosphere,  weather,  Ac,  132-.5. 
-Atomic,  arangenient,  64. 
Atrephograph,  377. 
Attic  as  sitting-room,  97. 
Attitude,  in  sculpture,  115. 
Auspicious  seasons,  147. 
Background,  292. 
Bacon,  Lord,  85. 
Barry,  James,  painter,  S3,  219. 
Bartolomeo,  della  forta.  26  <, 
Bathurst,  Lord,  223. 
Bauer.  M.,  357. 
Beauty,  21,  22. 

Beauty,  artists'  opinion  of^  185,  206. 
Beckers,  Alexander,  369. 
Beechey  223. 

Bell,  Sir  Charles,  123,  160,  168,  242-4. 
Belridere,  torso,  221. 
Berlin,  Prussia,  300. 
Biliu,  Bohemia,  322. 
Bird,  Dr.  Robert  M.,  author,  350. 
Bishop  White,  162. 
Black,  72-8. 

Black,  Boston,  heliographer,  369. 
Blasted  heath,  172. 
Blemish,  114. 
Blind,  in  one  eye,  118. 
Blonde,  78. 
Blushing,  82. 
Boccaccio,  87. 
Bologna,  232. 
Bonaparte,  face  of,  87. 
Bond,  Dr.,  Cambidge  Observatory,  364. 
Boneless  heap,  156. 
Borgia  Cjesar,  by  Titian,  247. 
Boston  Common,  157. 
Bourbon,  face  of,  87. 
Bowcn'S  history,  Indians,  182. 
Bowman,  Col.  419. 
Boy-fi-iend  of  Washington,  159 

(450) 


INDEX. 


451 


Bradv,  N.  Y.,  lieliographer,  363. 

Brewster,  Sir  D,  52,  312,  422,  427. 

Brooks,  Dr.  S.  S.  177. 

Brougham,  Lord,  152,  395. 

Browne,  Sir  Thomas,  85. 

Brunette,  78. 

Bryant,  William  C,  166. 

Buff,  for  polishing,  133. 

Bull  dog,  representative,  171. 

Bunker  Hill  Monument,  158. 

Burgess,  N.  G.,  N.Y.,  390. 

Burke,  Edmund,  219,  259. 

Burnet,  228,  232,  201. 

Byron,  88,  face  of,  240. 

Caesar  Borgia,  247. 

Cassar,  Julius,  183 

Calhoun,  John  0.,  160. 

California,  steamer  for,  134. 

Caloric,  59,  61. 

Calotype,  401. 

Cambridge  University,  England,  124. 

Camera,  115,  147. 

Camera  obscura,  393. 

Canova,  sculptor,  241. 

Caracalla,  87. 

Carbon,  55. 

Carbonic  acid,  55,  62. 

Cartilage,  nas.al,  120. 

Case  &  Getchell,  Boston,  379. 

Catalissotype.  402. 

Catch-lights,  114. 

Caucasian  race,  78. 

Celebrities,  painting  of,  145. 

Cerberus,  myth  of,  82. 

Cerebrum,  89. 

Cerebellum,  89. 

Changes  of  weather,  132. 

Chantrey,  sculptor,  427. 

Chaptal,  author,  394. 

Charles  II.,  88. 

Charles  V.,  263. 

Charleston,  S.  C,  242,  420. 

Chastity,  Milton,  82. 

Cheek,  light  upon,  121. 

Chemistry,  36. 

Chest,  acutely  diseased,  178. 

Chestnut  color,  79. 

Chevreuil,  402. 

Chevreul,  author,  273. 

Chilton,  Dr,  N.Y.,  366. 

Chiar'  oscuro,  221. 

Chingachgook,  significance  of,  182. 

Chin,  level  with,  120. 

Chlorine,  64. 

Christ,  149,  150. 

Christian  Pythagoras,  167. 

Christendom,  411. 

Chromatics,  83. 

Chromatography,  79. 

Chromotype,  402. 

Chysotype,  402. 

Cicero,  Marcus  Tullius,  183. 

Cite  of  Paris,  175. 

Clarendon,  Lord,  150. 

Claude,  painter,  215. 

Claudet,  heliographer,  349,  426. 

Clay,  Henry,  120,  154. 

Clergyman,  lady  of,  76. 

Coincidence,  149. 

Colhns's  ode,  &c.,  130. 

Collodion  process,  404. 


Color,  50,  67,  229,  232. 

Colored  snow,  328. 

Coloring  in  crayons,  295. 

Coloring  in  oils,  297. 

Coloring  in  pastels,  297. 

Colors  for  hair,  299. 

Combustion,  55. 

Complemental  colors,  74. 

Complexion,  certain  colors  for,  78. 

Composition,  145,  "225-9. 

Compromising,  professional  repute,  119, 145. 

Concentrated  thought,  116. 

Constituents  of  beauty,  67. 

Copartnei's,  with  the  sun,  148. 

Copying  of  engravings,  315. 

Corpulent  subject,  119. 

Costume  in  jjortraiture,  &c.,  127,  131. 

Cochineal,  an  insect,  331. 

Cornelius,  Robert,  heliographer,  354. 

Competition,  sharp,  367. 

Correggio,  37,  14.8,  220. 

Corresponding  secretary,  388. 

Costume,  appropriate,  76. 

Courtois,    heliographer    (discovered    iodine 

1811),  398. 
Cousin,  186,  195,  200,  211,  219,  246. 
Crayon  daguerreotype,  317. 
Creator,  149. 

Cresson,  Dr.  Charles  M.,  Phila.,  372. 
Crimson,  52. 
Critic,  149. 

Cromwell,  Protector,  261. 
Cross-eyed,  117. 
Cross-legged,  106. 
Cross-lights,  114. 
Crystal  Palace,  369. 
Crystal  Palace,  London,  376. 
Cunningham,  Allan,  240. 
Curran,  34,  240. 

Curtis,  Dr.  Josiah,  discovered  coUodion,  404. 
Customers,  &c.,  134. 
Cutting,  Boston,  .372. 
Cyanotvpe,  402. 
Cyllanus,  Centaur,  236. 
Dabbs,  George,  378. 
Daguerre,  62,  398. 
Daguerre,  proceedings  of  (in  regard  to  siTii- 

painting  in  1824,  1826.  1839),  397. 
Daguerreotypist,  133. 
Damask,  a  color,  61,  81. 
Dandyism,  Lawrence,  227. 
Dante,  87. 
Dark  slate,  101. 
Dark  cinnamon,  101. 
David,  king,  166. 
Davy,  Sir  H.,  61,396. 
Dealing  with  defects,  &c.,  117, 122. 
Debility,  59. 
Decomposition,  57. 
Demetrius,  painter,  201. 
Demosthenes,  424. 

Descriptive  and  historical  subjects,  444-9. 
Development,  corporeal,  71. 
Diagram  of  colors,  74. 
Diaphanotype,  309,  312,  376. 
Diaphanous,  86. 
Dickens,  how  to  depict,  166. 
Dieze,  author,  394. 
Diffused  light,  96. 
Dionysius,  painter,  201. 
Diotomaceae,  324,  327. 


452 


INDEX. 


Discobolus,  statue,  250. 

Discovery  of  sun-painting,  62. 

Disderi,  French  artist,  first-class  authority, 

442-3. 
Disderi,  Paris,  379,  433,  442. 
Disease,  59. 
Divine  exemplar,  146. 
Divine  original,  144. 
Dominant  movement,  443. 
Drab  color,  78. 
Draper,  Dr.  Henry,  343. 
Draper,  Prof.  J.  W.,  339,  343. 
Draperies,  290,  292. 
Drapery,  80,  127. 
Dress,  remarks  on,  116. 
Drawing  and  sketching,  136. 
Drawing  from  nature,  136. 
Drawing  or  design,  220-3. 
Dry  process  (collodion),  406. 
Dumas,  chemist,  398. 
Du  Piles,  author,  238. 
Dutch  school,  230. 
Editor,  representation  of,  165. 
Education,  by  circumstances,  27. 
Egypt,  pyramids,  &c.,  418. 
Elirenberg,  microscopist,  321,  323. 
Electricity,  133,  162 
Elgin  JIarbles,  191,  261. 
Embellishment,  natui-al  love  of,  20. 
Embryon,  vegetable,  63. 
Energiatype,  Hubert  Hunt,  402. 
England,  colleges,  124. 
English  school  of  painting,  233. 
Ensign,  beauty's  81. 
Epic,  Milton's,  41. 

Establishment,  heliographic,  137,  138. 
Etlian  Allen,  representative  of,  174. 
Europe,  steamer  for,  134. 
Eve,  "fatal  apple,  172. 
Everett,  Edward,  166. 
Expression,  141,  23T,  246. 
Eyes,  direction  of,  106 . 
Eyes,  language  of,  &c.,  113-16. 
Executive  skill,  126. 
Experience,  writer's,  135. 
Expression  by  names,  181. 
Expression  of  abnormal  moods,  177-9. 
Expression  through  face,  143,  162. 
Expression  through  face  and  figure,  163, 168. 
Expression,  through  animal  world,  Ac,  169, 

176. 
Extremes,  116. 
Paris,  Thomas,  S60. 
Fashion,  76. 
Faultless  beauty,  71. 
February,  severest  ■weather,  60. 
Fermentation,  64. 
Ferrotype,  376. 
Fervors,  summer,  62. 
Festive,  77. 

Field,  (Jeorge,  light,  50. 
Finden,  artist,  99. 
Fine  arts,  19,  25. 

First  portrait  from  life,  N.  Y.,  341. 
Fitzgibbons,  370. 
Fitz,  Henrj',  optician,  350. 
Flattered,  the  cross-eyed,  117 
Flaxen  hair,  116. 
Flaxman,  sculptor,  248,  255. 
Florence  Nightingale,  209. 
Florence  Bchool,  232. 


Folds,  costume,  128. 

Fontayne,  Charles,  385. 

Form,  constituent  of  beauty,  67. 

Fourier,  Charles,  412. 

Fox,  representative  of,  170. 

Franldin,  Dr.,  61,  161,  421. 

Frazer,  Prof.  J.  F.,  367. 

Freckled,  121. 

Fredericks  &  Co.,  381. 

Frenel,  light,  50. 

Friendly  hints,  134-5. 

Frigid  zone,  174. 

Frogs,  tadpoles,  58. 

Front  light,  97. 

Front  view,  115. 

Frowns,  Mr.  Clay,  155. 

Frozen  sea,  175. 

Fruit,  apple,  72. 

Fuseli,  artist,  83,  198,  212. 

Galatea,  of  Kaffaelle,  201. 

Galleries,  first-class,  115. 

Gaspar  Poussin,  unimaginative,  215. 

Gastric  juice,  64. 

Gaudinotype,  402. 

Gelatinizing  positives,  292. 

Gem,  harmony  of  colors,  68. 

Genial  moods  in  sitters,  154. 

Genius,  creative,  not  imitative,  213. 

Genius,  nature  of,  36,  144,  146,  211,  214. 

Geno.a,  87. 

Geologic  inquiry,  416. 

Geometrical  principles,  223. 

Germination,  how  caused,  63. 

Ghastliness  in  complexion,  73. 

Gilmore,  General,  420. 

Gladiator,  composition  in  action,  228. 

God,  gift  of,  144. 

Goddard,  Dr.  Paul  Beck,  362. 

Goitre,  among  Alps,  &c.,  58. 

Good  nature,  Important,  38. 

Goodness  of  God,  62. 

Gonsalvi,  of  Lawrence,  223. 

Gouverneur  Morris,  with  Stuart,  164. 

Grace  Darling,  209. 

Grace,  definition  of,  223-4. 

Grace  in  woman,  186. 

Gradations  in  color,  230. 

Grant,  Prof.,  calcium  light,  353. 

Grand  Trunk  Railway,  419. 

Gray,  intermediate  of  black  and  white,  78. 

Great  Britain,  419. 

Greek  Fire,  420. 

Greek  myth,  Prometheus,  145 ;  Phaeton,  148 

Greeks,  ancient,  24,  87. 

Griswold,  V.  M.,  376. 

Grotius,  picture  by  Rubens,  247. 

Group  of  sitters,  100. 

Gulliver's  Travels,  72. 

Gum,  vegetive  nutriment,  63. 

Gurney,  J.,  N.  Y.,  369. 

Gutta  percha,  406. 

Haas,  heliographer,  N.  Y.,  363. 

Hair,  arrangement  of,  129. 

Half-length,  118. 

Haller  on  face,  86. 

Hallotype,  312-13,  376. 

Hands,  of  lady  in  sitting,  106. 

Hannibal,  portrait  of,  151. 

Happiness  of  the  masses,  28. 

Hapsburgh  face,  87. 

Hare,  Dr.,  chemical  professor,  352. 


INDEX. 


453 


Harmony  of  colors,  67,  83. 

Harmonist  of  colors,  Deity,  68. 

Harmonic  coloring,  70,  2li5. 

Harmony  of  analogy,  what,  73,  271. 

Harmony  of  contrast,  74. 

Harris,  light,  50. 

Harrison,  C.  C.,  camera  lenses,  &c.,  374. 

Hart,  Prof.  John  S.,  421-2. 

Harvey,  on  stars,  228. 

Hatching,  what,  284. 

Haydon,  B.  R.,  8.%  187,  216. 

Head-rests,  lor  sitting,  191. 

Hearing,  cause  of,  50. 

Health,  influenced  by  light,  57. 

Heat  from  combustion,  50 ;  nature  of,  58. 

Heath,  artist,  99. 

Helen,  Grecian  eye  of,  88 ;  beauty  of,  197. 

Heliographer  and  his  sitters,  90-5. 

Heliographic  rooms,  fitting  up  of,  43-8. 

Holiography,  its  present  and  future,  411, 

431,  412. 
Heliography,  artistic  character  of,  432,  448. 
Heliography,  uses  of,  26,  31. 
Hercules,  type  of  man,  170,  195. 
Heroes,  representations  of,  27. 
Herschell,  Sir  J.,  lavender  and  crimson,  52. 
Herschell,  Sir  J.,  hyposulphite  soda,  396. 
Herschell,  Sir  William,  395. 
Ilesler,  daguerreotype  views,  370. 
Hickory,  compact,  56. 
High  art,  what'  263. 
Highlights,  where  placed,  101. 
Hillotype,  316,  .376. 
Hindrances,  to  heliographer,  147. 
Hindrance  to  growth,  what,  63. 
Hints,  on  sitting,  Ac,  105,  112. 
Historian,  how  to  be  represented,  165. 
Historic,  pictures,  227. 

History  of  heliography  in  Europe,  393,  410. 
Hogarth,  expression,  153. 
Hogarth,  "  line  of  beauty,"  115. 
Hogarth,  style  of  painting,  248. 
Holiday,  in  eye,  113. 
Holmes,  invention  of,  386. 
Holy  Ghost,  Simon  Magus,  144. 
Homer,  "  ox-eye,"  88 ;  as  poet,  186, 197. 
Honey-process,  405. 
Horn-silver,  394. 
Horizon,  sun  above,  57. 
Hospitality,  offers  of,  115. 
Howard,  art-writer,  222,  254. 
Huge  mound,  of  mountain,  typical,  174. 
Human  face,  chief  subject  of  art,  84-9. 
Hume,  historic  characters,  150. 
Humphrey's  journal,  389. 
Hunt,  Robert,  401. 
Husk  of  seed,  63. 
Hyalotype,  371. 

Hydrogen,  "  blackening  power,"  50. 
Ice,  hypothesis,  59. 
Ichaboe,  island,  guano,  328. 
Ideal  beauty,  198. 
Ideal,  in  portraiture,  149. 
Illustration  No.  7,  352. 
Illustrations,  by  heliography,  130-1. 
Image,  heliographic,  45. 
imagination,  214-17. 
'mlac,  philosopher,  in  Rasselas,  221. 
Imperial  photograph,  377. 
Independence,  1776. 
Indigo,  refrangibility  of,  52. 


Individuality  of  man,  32,  44, 146, 149. 

Infractors,  of  law,  detected,  &c.,  421. 

Inman,  Henry,  his  address,  &c.,  242. 

Intellectual  beauty,  196. 

Intermediate,  position  of  head,  115. 

Interpreter,  of  nature,  72. 

Intractability  of  matter,  71. 

Insipidity  of  habitual  smile,  95. 

Instrumentality  of  heliographer,  49. 

Invention,  in  art,  217-18. 

Iodine,  saturated,  &c.,  133. 

Irritation,  by  night,  57. 

Isolation  of  heliographers,  40. 

I  talians,  devoted  to  art,  87 ;  masters,  149. 

Ivorytype,  303,  406. 

Ivorytype,  American,  305-6. 

.James,  St.,  in  the  "  Lord's  Supper,"  257. 

January,  its  cold,  60. 

Jay's  treaty,  163. 

Jeffrey,  Lord,  on  beauty,  188-9. 

Johnson,  John,  N.  Y.,  348,  349. 

John,  St.,  in  the  "  Lord's  Supper,"  256. 

Joinville,  I'rince  de,  360. 

Jones,  W.  B.,  Boston,  371. 

Journals,  heliographic,  42. 

Judas,  in  the  "  Lord's  Supper,"  256. 

Julius  Cassar,  ideal,  161. 

July,  its  heats,  59. 

June  21st,  N.  limit  of  sun,  59. 

Juno,  of  Homer,  88 ;  in  art,  191. 

Jupiter,  of  I'hidias,  200. 

Justice,  George  M.,  351. 

Juvenal,  on  Phidias,  251. 

Kemble,  John,  his  beauty,  244. 

Kemble,  Mrs.  F.,  remark  on  Lawrence,  32. 

Knowledge,  of  the  masses,  28. 

Labillardiere,  on  pores  of  plants,  55. 

Laborde,  professor  of  sciences,  368. 

La  Fayette,  at  Bunker  Hill,  158. 

Landscape  photography.  Col.  N.  Pike,  387. 

Langdell,  Dr.  G.,  Phila.,  372. 

Langenheim,  F.,  Phila.,  355,  363. 

Languid  expression  of  eyes,  114. 

Laocoon,  how  classed,  221. 

Last  Supper,  by  Lionardo  Da  Vinci,  255-8. 

Latent  heat,  57 ;  in  ice,  59. 

Laughing,  muscles  affected  by,  117. 

Lavater,  faces,  &c.,  85. 

Lavender,  color,  by  Sir  J.  Herschell,  52. 

Lawrence,  Sir  Thomas,  33,  34,  145,  163,  223. 

Lectures  on  painting,  83. 

Lemon  yellow  augments  paleness,  73. 

Leonidas,  at  Thermopylae,. 209. 

Letts,  .Tames  S.,  atrephograph,  377. 

Lewenhoeck,  microscopist,  329. 

Light,  and  shadow  discovered  by  Zeuxis,  233. 

Light,  and  shadow  as  used  by  various  paint- 
ers, 234-7. 

Light,  Newton's  theory  of,  50;  effect  of,  56. 

Lights  and  shadows  in  picture,  123-6. 

Lignum  vit£e,  66. 

Likeness,  excellent,  71 ;  likeness,  partial,  122. 

Lille,  fortifications  of,  58. 

Lilliputian  ladies,  72. 

Limning,  human  face,  71. 

Lionardo  Da  Vinei,  37,  99,  234,  255. 

Lion-hearted,  Richard,  170. 

Lions,  representing  eyes,  113;  face  of,  ex- 
pressive, 170. 

Lippi  Fillippo,  great  master  of  light  and 
shade,  236. 


454 


INDEX. 


Lipa  express  character,  85. 

Lipsius,  in  conversation-piece,  217. 

Liquefaction  of  ice,  Ac,  60. 

Litcli  &  Whipple,  Boston,  364. 

Lombard  school,  head  of,  235. 

Louis  XV.,  France,  87. 

Louvre,  expression  of,  124. 

Love,  proper  hue  of,  b2. 

Lungs,  Influence  of  light  upon,  57. 

Luther,  true  portrait  of,  424. 

Lysippus,  ancient  artist,  201. 

Macbeth,  on  "  blasted  heath,"  171-2. 

Macaulay's  pen  and  ink  portraits,  150. 

"Macedonia's  Madman's"  portrait,  151. 

Machiavelli,  face  of,  247. 

Madonna  of  Correggio,  220. 

Magdalen  of  Correggio,  220. 

Magnetic  electro  telegraph,  412. 

Magnetism,  according  to  George  Field,  51 

Magnetism,  essential  to  life,  50. 

Magnetism  of  genius,  50. 

Malformation,  from  want  of  light,  58. 

"  Man  of  Sorrows,"  by  Albert  Durer,  150. 

Masaccio,  chiar'  oscuro,  23(3. 

Mason,  William  G.,  engraver,  352,  354. 

Massachusetts,  pilgrim-planted,  158. 

Masses  of  light  in  nature,  125. 

Matthew,  St.,  in  "  Last  Supper,"  257. 

Mauritius,  in  conversation-piece,  247. 

Mayall,  J.  E.,  of  Philadelphia  and  London, 
363 ;  ivorytype,  his  invention,  406. 

McClees  &  Germon,  crystallotype,  371. 

Meade,  Brothers,  N.  Y.,  385. 

Meade,  Charles  R.,  met  Daguerre,  385. 

Measury  &  Silsby,  Boston,  379. 

Mechanics,  in  art,  32. 

Medical  science  aided  by  heliography,  417 

Melainotype,  by  Prof.  H.  L.  Smith,  376. 

Melancholy,  how  born,  82. 

Mercenary,  impulses  to  art,  41. 

Mercury,  in  red  ray,  61. 

Method  of  coloring,  284-7. 

Mezzotint  photographs,  293. 

Michelet,  remark  on  Titian,  193 ;  on  repose, 
225. 

Michellotti,  on  light,  55-6. 

Micro-photography,  319-36. 

Middle  ages,  colors  in,  429. 

Middle  tints,  125,  128. 

Millennium,  tradition  of,  411. 

Miller,  stereoscopes  in  crater,  380. 

Milton,  his  epic,  41 ;  Milton,  The  Fall,  172, 

Minerva,  her  mantle  blue,  77 ;  Minerva,  not 
beautiful,  191. 

Miniature  heliographs,  137. 

Mino  da  Fiesole,  sculpture  of,  252. 

Minstrelsy,  of  birds,  70. 

Mint,  V.  S.,  picture  from  window  of,  351. 

Miscellaneous  remarks,  253-63. 

Miscellaneous  facts,  180-4. 

Mithriac  worship,  Persia,  429. 

Modus  operandi  In  heliography,  126. 

Mood,  importance  of,  in  sitting,  45. 

Moral  beauty,  examples  of,  196. 

Morand,  A.,  N.  Y.,  early  daguerreotypist,  360. 

Morbid  condtions,  how  expressed,  177. 

Morris,  Geo.  P.,  "  Woodman,  spare,"  &c.,  166. 

Morse,  Prof.,  339,  344;  his  daughters'  pic- 
ture, 547  ;  his  speech,  390-3. 

"  Mosaics,"  by  Sanders,  84. 

Mother  earth,  the  crucifixion,  172. 


Mountains,  expression  of,  173. 

Mount  picture  for  coloring,  282-4. 

Mouth,  as  affected  by  the  smile,  118. 

Mulgrave,  anecdote  of,  241. 

MuUer,  his  collodion-process,  407. 

Muses,  robed  in  blue,  77. 

Napoleon,  upon  noses,  88. 

Natural  philosophy,  basis  of  heliography,  36. 

Nature's   method  with   light  and  shadow, 
1-25. 

Nazareth,  Divine  Man  of,  27. 

New  continent,  noblest  blood  of,  158. 

Neptune,  outmost  planet,  68. 

Neutral,  or  negative  colors,  what,  78. 

New  Jerusalem,  of  Swedenborg,  411. 

Newton,  his  theory  of  light,  50. 

New  York  Photographic  Society,  3S8. 

Nicolo  Poussin,  imaginative  in  landscape, 
215. 

Niepce,  proceedings  of,  in  relation  to  helio- 
graphy an  1814,  1826,  1827,  1829},  .397. 

Nitrogen,  a  component  of  air,  55. 

Noah,  covenant  of  God  with,  430. 

Nobility,  the,  as  painted  by  Lawrence,  227. 

Nose,  affected  by  chest  ailments,  177. 

Northcote,  upon  Reynolds,  249. 

Nubia,  rock  temples  of,  418. 

Oak,  compact  in  grain,  56. 

Obstructions  to  faultless  beauty,  71. 

Occasions,  for  blue  color,  77. 

Ocular  anomalies,  180. 

Oder,  infusoria  on  banks  of,  326. 

Old  arm  chair  illustrated,  131. 

"  Old  Virginia,"  rural  life  of,  &c.,  163. 

Olympus,  messenger  of,  77. 

Operant,  difficulties  besetting,  90. 

Opie,  .John,  218,  220,  229,  238,  247. 

Orange,  one  of  the  secondary  colors,  52 

Oratory,  less  potent  than  eye,  85. 

Organism  of  flowers  wondrous,  67. 

Original,  inferior  to  copy,  72. 

Orinoco,  banks  of,  S.  A.,  325. 

Ornament,  of  female  dress,  colors,  71 ;  taste 
for  ornament  innate,  67. 

Ostade,  his  pictures  peculiar,  228. 

Othello,  actor  in,  162. 

Owen,  Prof.,  his  demonstration,  333. 
Oxford  Student,"  Ruskin,  83;  buildings  of, 
124. 

Oxide  of  hydrogen,  each  color  in  the  sun- 
beam, according  to  Field,  51. 

Oxygen,  a  component  of  both  air  and  water, 
55. 

Oxygen,  "whitening  power,"  according  to 
George  Field,  50. 

Paint  the  head,  287-90. 

Painter,  diflSculties  of,  44 ;  ability  needed  by, 

la. 

Pale  complexion,  how  improved,  73. 

Pamphilus,  to  his  scholars,  222. 

Pandemonian  fires,  172. 

Paradise  Lost,  Eve  in,  193. 

Parker,  Dr.  J.  E.,  distinguished  in  out-door 

views,  354. 
Passion,  use  and  value  of,  218. 
Patience,  necessary  to  artistic  eminence,  38. 
Patrick  Henry,  historic  portrait,  151. 
Paul  Veronese,  sensitive  to  beauty  of  color 

190. 
Peale,  Rembrandt,  27,  37,  163. 
Peroxalate  iron,  peculiarity  of,  64. 


INDEX. 


455 


Personality,  expression  of,  144. 

Peter,  St.,  to  Simon  Magus,  144;  in  "Last 
Supper,"  256. 

Petit,  effect  of  light  in  crystallization,  394. 

Petra,  rock-temples  of,  418. 

Petzval,  Prof,  his  lenses,  355. 

Phaeton,  myth  of,  1-17-8. 

Phalanxes,  of  Fourier,  412. 

Phenomena,  of  weather,  132. 

Phidias,  marked  by  spirituality,  186;  com- 
pared with  M.  Angelo,  252. 

Philosophers,  experiment  by,  56. 

Photographic  and  Fine  Art  Journal,  389. 

Photograph,  to  choose  and  prepare,  280-2. 

Photography,  effects  of,  413. 

I'hrenologist,  cerebrum,  &c.,  89. 

Physical  beauty,  what  signifying,  196. 

Physiognomies,  of  animate  and  inanimate 
worlds,  85. 

Pictorial  arts,  high  attributes  for,  168. 

Pictures,  how  to  frame,  302. 

Pike,  Col.  Nicolas,  skilled  amateur,  ."88. 

Pilgrims'  landing,  celebration  of,  159. 

Pioneers,  of  new  world,  19. 

Plato,  on  ideal  beauty,  198-9. 

Pliny,  eulogist  of  Apelles,  254. 

PlumlD,  John,  his  many  galleries,  361. 

Plutarch,  Elgin  Marbles,  251. 

Poet,  how  placed  in  portrait,  165. 

Politeness,  characteristic  of  great  artists,  37. 

Pope  Paul,  HI.,  by  Titian,  247. 

Porta,  inventor  of  camera  obscura,  393. 

Portrait,  44,  71,  246,  252,  439,  247. 

Portraits  of  children,  101-4;  pleasing,  102. 

Portraits  of  heroes,  Ac,  effect  of,  414. 

Portraiture,  cartes  de  visite,  300-1. 

Posture  In  sitting,  91;  in  general,  109. 

Powder,  for  coloring  positives,  293-4. 

Premeditations,  of  artist,  145. 

Priestly,  Dr.,  discovery  by,  55. 

Primary  colors,  what,  52,  74. 

Primordial  decree,  147. 

Prince  Albert,  portrait  of,  381 . 

Princeton  battle,  242. 

Principles  of  harmonious  coloring,  264,  302. 

Prismatic  spectrum,  order  of  colors  in,  73. 

Prism,  natural,  rainbow,  51 ;  artificial  glass, 
52. 

Pioclus,  on  ideal  beauty,  201. 

Profile,  what  margin,  109-10. 

Prometheus,  myth  of,  145,  421. 

Proportion,  in  nature's  coloring,  69. 

Prosperity,  material  of  U.S.,  19. 

Proto-artist,  God,  22,  68,  143,  148. 

Public  speakers,  standing,  165. 

Public  taste,  how  affected  by  daguerreotype, 
392. 

Public  order  helped  by  photography,  420. 

Pyrenees,  maladies  among,  58. 

Python,  shot  by  Apollo,  250. 

Quail,  John,  heliographer,  360. 

Qualifications  of  first-class  heliographer,  32, 
42. 

Quatremere  de  Quincy,  152. 

Quintilian,  233. 

Radiance,  of  tropics,  its  effect  on  photogra- 
phy, 65. 

Raffaelle,  his  morale,  37 ;  portraits  of  Mar 
donna,  148  ;  of  the  Saviour,  148. 

Kainbow,  example  of  harmony  of  analogy. 


Red  earth,  Adam,  430. 
Kedgrave,  Manual  of  Color,  272. 
Red,  harmonic  with  festive  scenes,  77. 
Ked,  one  of  the  three  primary  colors,  52. 
Red  races,  from  Shem,  430. 
Refractoriness  of  child  sitting,  103. 
Rehn,  Isaac,  photographer,  o72-3. 
Reichenbach,  Baron,  electricity  in  sun,  65. 
Relief  in  pictures,  what,  126. 
Rembrandt,  his  magic  pencil,  193 ;  genius  in 

form,  221. 
Repose  in  art,  224-5. 
Rest,  essential  to  vegetables,  65. 
Rev.  J.  B.  Reade,  infusion  of  galls,  400. 
Reynolds,  Sir  J.,  lectures,  83;  wide  margin 

to  pictures,  109. 
Rice  &  Hart,  portrait  gallery,  &c.,  155. 
Richard  Coeur  de  Lion,  170. 
Kip  Van  Winkle,  165. 
Romancer,  position  in  portrait,  165. 
Romans,  ancient,  in  artistic  culture,  24. 
Rosy,  tint  cast  by  light  green  on  face,  79. 
Rothermel,  his  "  Patrick  Henry,"  150. 
Rouge,  plate-polishing  substance,  133. 
Rubens,  sensitive  to  color,  190 ;  remark  upon, 

by  Howard,  222. 
Ruddiness,  of  complexion,  relation  to  dress, 

72. 
Ruffled,  when  the  hair  should  be,  1 28. 
Kumford,  Count,  discoveries,  395. 
Ruskin,  art-critic,  186,  214,  204,  218. 
Sabean  worship,  429. 
Sahara,  African,  symbol  of  what,  175. 
Salad  for  the  Solitary,  author  of,  84. 
Sallowness,  in  relation  to  dress,  73. 
Salvator  Rosa,  vigorous  imagination  of,  215. 
Sample  of  Americun  heliography,  141. 
Samson,  how  typified,  170. 
Saunders's  opinion  of  the  face,  86. 
Saviour,  in  Last  Supper,  255,  257. 
Saxton,  his  early  daguerreotj'pe,  351. 
Scheele,  chloride  silver,  394-5. 
Scipio,  significance  of,  183. 
Scott,  eyes  of,  88 ;  characters  by,  150 ;  bust 

of,  427. 
Sculptors,  great,  great  composers,  226. 
Sculpture,  nature  of  250-2. 
"  Second  Adam,"  manual  labor,  148. 
Second  and  third  painting,  299. 
Secondary  colors,  what,  74. 
Second  floor  for  other  uses,  96. 
Seebeck,  discoveries  by,  395. 
Seed,  germinated  by  actinism,  63. 
Seely,  Ghas.  A.,  Journal  of  photography,  389, 
Selfhood  in  expression,  what,  143,  147. 
Sennebier,  violet  ray,  394. 
Serpentine,  line  in  composition,  226. 
Sexes,  how  distinguished,  253. 
Shadbolt,  honey-process,  405. 
Shadow  of  soul,  expression,  145. 
Shakspeare,  illustrations  from,  72,  80, 158. 
Sharon,  rose  of,  Ac,  69. 
Shem,  descendants  of,  430. 
Shirene,  oriental  beauty,  88. 
Shive,  invention  of,  378. 
Short  sessions,  concerning,  133. 
Short  shadows  for  sitters,  108. 
Shrewdness  of  the  artist,  94. 
Siddons,  Mrs.,  fine  face  of,  191. 
Side  and  sky-light  combined,  97. 
Silanion,  portraitist,  247. 


456 


INDEX. 


Simon,  the  magian,  144. 

Singing  binls  in  reception  room,  47. 

Sistine  chapel,  groups  in,  255. 

Sitter's  position,  age,  Ac,  105. 

Sitting  room,  sky-light,  Ac,  96,  104. 

Sitting  room  at  "top  of  building,  96. 

Slender  person,  how  to  sit,  120. 

"  Small  Cathedral,"  Webster,  157. 

Smelling,  cause  of,  50. 

Smile,  peculiar  to  man,  95 ;  Mr.  Clay,  155 
a  spontaneous  action  of  muscles,  161. 

Smith,  origin  of  name,  183. 

Smith,  Rev.  Sydney,  saying  of,  157. 

Snake,  what  type  of,  171. 

Snelling,  FI.  II.,  inventions  of,  384-5 ;  jour- 
nal of,  389. 

Snow,  latent  heat  in,  60. 

Social  feelings  promoted  by  heUographj',  27 

Socrates,  trained  a  sculptor,  251. 

Soil,  screen  of  seed  from  light,  &c.,  63. 

Solar  beam,  not  simple,  51. 

Solar  camera,  295. 

Solarizing,  how  to  avoid,  121,  127. 

Solar  spectrum.  Sir  J.  Herschell,  400. 

Sonnet  of  R.  T.  Conrad,  161. 

Southey,  on  the  face,  85. 

Southworth,  early  daguerreotypist,  359. 

Spanish  school,  in  chiar'  oscnro,  233. 

Sphereotype,  by  Bisbee,  317,  377. 

Spiller  &  Crookes,  nitrate  magnesia,  405. 

Spiral,  how  produced,  115. 

Stained  glass  in  reception  room,  46. 

Starch,  transmutation  of,  63. 

Statham,  Rev.  Mr.,  his  remark,  415-16. 

Steam,  its  influence  on  the  world,  412. 

Stereoscope,  scene  for,  98. 

St.  Giles,  of  London,  how  typified,  175. 

Stippling,  what,  285. 

Stothard,  traits  of  248,  255. 

Stoutness,  in  relation  to  dress,  72. 

Stuart,  Gilbert,  27,  33,  37,  163,  163. 

St.  Victor  Niepce,  albumen  on  glass,  403. 

Sublimity,  species  of  beauty,  207-8. 

Subordinate  color  in  dress,  71. 

Sue,  Eugene,  reform-writer,  175. 

Sully,  instructions  of,  136. 

Sunbeam,  49,  66. 

Supreme,  Proto-Artist,  143. 

Sutton,  Thomas,  photographic  editor,  363. 

Symbolical  colors,  SO. 

Symmetry  of  form  marred  by  bad  color,  68 
"  qualities  of,  233. 

Symonds,  on  art,  210,  233. 

Sympathy,  similitude  of  spheres,  167. 

Table  of  discoveries,  407-10. 

Tadpoles,  require  light  for  full  development, 
58. 

Talbot,  H.  P..  experiments  (published  1839). 
340,  400,  425. 

Talent,  required  by  heliography,  36. 

Taste,  for  art  promoted  by  heliography,  140. 

Taste,  nature  and  composition  of,  218-20. 

Taupenot,  Dr.,  collodio-albumen,  405. 

Taylor,  President,  bad  portraits  of,  156. 

Teeth,  loss  of,  how  disguised,  118. 

Temperate  climes,  vegetation,  &c.,  in,  70. 

Temper,  irritable,  bad  effects  of,  102;   im- 
portance of  curbing,  134. 

Tertiary  colors,  what,  75. 
Thanatopsis"  of  Bryant,  166. 

Thermography,  by  Prof.  Moser,  403. 


Thermometer,  affected  by  different  rays,  61. 

Theseus,  among  Elgin  Marbles,  251. 

Thinness,  how  to  depict,  119. 

Thompson,  heliographer  in  Paris,  360. 

Tiger,  symbol  of  what,  170. 

"  Timaeiis,"  of  Plato,  extract  from,  199. 

Timanthes,  famed  for  expression,  245. 

Tintoretto,  famed  colorist,  190. 

Titian,  his  beauty  of  color,  190;  father  of 
portrait,  262. 

Toilet,  &c.,  importance  of  color  to,  69. 

Tornado,  generated  by  heat,  62. 

Tragic  Muse,  Mrs.  Siddons  as,  261. 

Transfiguration,  of  Raffaelle,  239. 

Travel,  virtually  replaced  by  heliography,  28. 

Travelling,  self-culture  by,  413. 

Tropics,  influence  on  human  form,  &c.,  58. 

Trumbull,  Jno.,  portrait  of  Washington,  242. 

Turuer,  opinion  of,  by  Lawrence,  259. 

Two-thirds  face,  when  best,  115, 119. 

TJndulation-ether,  50. 

Utility,  mechanical,  19. 

Valerius  Maximus,  on  Elgin  Marbles,  251. 

Valley  Forge,  Washington,  163. 

Van  Dyck,  110,  193,  227,  246. 

Van  Loan,  Sam'l,  early  daguerreotypist,  359. 

Vapor,  condensation  of,  into  snow,  60. 

Varnish  for  glass  positives,  294. 

Vasari,  history  of  painting,  252. 

Velasquez,  eminent  in  portrait,  248-9. 

Velvet,  screen  for  eyes,  114. 

Venetian  school,  chiar'  oscuro,  233. 

Venus,  type  of  woman,  195 ;  of  female  grace, 
254;  of  beauty,  195. 

Vesuvius,  what  symbolizing,  176. 

Vignette  style  of  portrait,  108 ;  photographs, 
292. 

Violet,  secondary  color,  52 ;  in  dress,  80. 

Virginia,  House  of  Delegates,  151. 

Virgin  Mother,  by  Raffaelle,  &c.,  148. 

Vision,  how  and  by  what  caused,  50. 

Visual  beauty,  constituents  of,  67. 

Vitality,  its  cause  what,  49. 

Vitruvius,  on  architecture,  194. 

Vivacious  temperament,  dress  for,  76. 

Voigtlander  &  Sons,  lenses,  355. 

Warm  colors,  red  and  yellow,  70. 

Washington,  27,  151,  152,  162,  163,  242. 

Washington  Irving,  how  to  represent,  165. 

Water  colors,  276,  80. 

Waterhouse,  Dr.,  remarks  on  Stuart,  241. 

Webster,  remark  about,  156. 

Wedgwood,  experiments  by,  397. 

West,  his  rapidity  in  work,  248. 

West  Point  Military  Academy,  419. 

Wetherill,  John  P.,  suggestion  by,  372. 

Whipple,  lunar  photographv,  364. 

White,  H.  II.,  verses  of,  274-5. 

Whiteness  in  dress  impairs  aspect,  &c.,  127. 

Wildman,  Dr.  E.,  early  daguerreotypist,  355. 

Willis,  N.  P.,  how  to  depict,  166. 

Wind  and  weather,  effects  of,  on  a  sitter,  146. 

Wisdom,  Divine,  seen  in  flowers,  62. 

Wm.  Smith,  S.  E.  cor.  Fifth  &  Chestnut,  163. 

Wolcott,  A.  S.,  inventor  of  reflector,  346, 349. 

Wollaston,  Dr.,  researches,  395. 

Woody  tissues  formed  by  light,  56. 

Yellow,  primary  color,  52. 

Young,  light,  50. 

Zeuxii,  hFs  modelling  of  Helen,  201 ;  disco- 
vered chiar'  oscuro,  233. 


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